FRINGE episodes following Marionette
by Hypnos0924
Summary: A series set after the events of "Marionette" As OLIVIA struggles to get her life back on track, she deals with some changes and a new face that comes into her life.
1. Chapter 1 Wounded

FRINGE FF 01 "Wounded" (A series set after the events of "Marionette")

FADE IN.  
CLOSE-UP on OLIVIA DUNHAM, her eyes closed. We see that she's asleep. We can also see that her hair is BLONDE.

PAN-OUT. Her ROOM seem familiar.

INT. APARTMENT - KITCHEN - UNKNOWN TIME  
A man, his back towards the camera, walks toward the fridge. He opens it and bends down to take a closer look at the contents.

INT. APARTMENT - BEDROOM - UNKNOWN TIME

CLOSE-UP on OLIVIA. She jerks awake, she hears something.

FRAME on OLIVIA. She jumps out of bed, takes her gun from under her pillow.

INT. APARTMENT - KITCHEN - UNKNOWN TIME  
The man takes a bottle of beer then shuts the fridge door close. He takes the crown off with his hand and takes a swig.

FRAME on OLIVIA, holding a gun, quietly moves towards the kitchen. She sees the man, his back towards her.

OLIVIA  
Turn around and put your hands in the air!

FRAME on the man, startled, he dropped the bottle of beer. It smashed on the floor. He quickly turns around. We see that it's FRANK, ALT-OLIVIA'S boyfriend.

CLOSE-UP on OLIVIA'S face, clearly in shock.

FRANK (O.S)  
What's going on?

FRAME on FRANK. Who seem confused; he slowly moves toward OLIVIA.

FRANK  
Olivia? Baby what's wrong?

FRAME on OLIVIA. Her gun still trained on him.

OLIVIA  
Don't! Don't you come any closer!

FRAME on FRANK. He raises both his hands in front of him.

FRANK  
Okay. Just calm down, alright?  
(he takes a step back)

BEHIND-THE-SHOULDER shot. OLIVIA, Still aiming at FRANK. We see him backing away from her.

FRAME on OLIVIA. She looks a little scared.

The FRAMES are alternating between OLIVIA and FRANK.

FRANK  
Who are you?

OLIVIA  
What?

FRANK  
WHAT have you done with her?  
(he takes a knife on top of the counter)

OLIVIA  
STOP! Put the knife down!

FRANK  
(PETER'S voice)  
You're NOT my OLIVIA.  
(holding the knife)

OLIVIA  
DROP the knife!

CLOSE-UP on FRANK. His face turns to a BLUR.

FRAME on OLIVIA. She seem disoriented; her hands, though still firmly gripping the gun, are shaking.

OLIVIA  
PETER?

FRAME on FRANK who has now turned into PETER, holding a knife. He's looking at OLIVIA, furious. His face then blurs, changing from PETER to FRANK then back again.

PETER/FRANK  
WHERE'S MY OLIVIA? You're NOT her!

I can see it in your eyes. You're not my OLIVIA, WHERE IS SHE?

FRAME on OLIVIA. She's scared, she has tears on her eyes.

PAN OUT. Now he's stepping towards OLIVIA, holding the knife over his head. OLIVIA instinctively fires.

CLOSE-UP on PETER'S head, not blurring anymore. A bullet wound on his forehead oozing with a silver liquid. Mercury.

OLIVIA bolts upright on her bed. It was a just a NIGHTMARE. She buries her face on her hands and starts to cry.

INT. FEDERAL BUILDING – DAY

A typical day for FRINGE DIVISION; agents on their desks carefully searching through piles of documents, analyzing data on their computer, busy talking on the phone. Agent DUNHAM walks in, deep in thoughts, she bumps into a man holding a cup of hot coffee. It spills on his shirt and drops the files he's holding.

OLIVIA

Oh, I'm so sorry.

MAN

(as he tries to brush off his shirt)

It's okay.

OLIVIA

I didn't see you.

(she picks up the folders)

MAN

(He takes the files from OLIVIA)

Excuse me, have to go and clean up.

The MAN walks away. OLIVIA heads to her office.

INT. FEDERAL BUILDING – BROYLES' OFFICE – DAY

FRAME on BROYLES. He's talking to a man seated with his back towards CAMERA, probably another FBI agent.

BROYLES

I assume you've read the files.

MAN

Yes sir. But from what I've read,

I don't think I fully believe and understand

what FRINGE division really is.

BROYLES

(he gives him a weak, minute smile)

I don't expect you to.

(beat)

Your father was great man. He saved my life once.

MAN

(interrupting)

I appreciate it sir, but this is not about my father.

(beat)

I'm not doing this for him.

BROYLES

Of course.

This is about redeeming yourself.

The man said nothing in reply; they stare at each other for a moment. Two knocks at the DOOR.

FRAME on the DOOR. It's OLIVIA, she's holding the door open.

OLIVIA

(to BROYLES)

You wanted to talk to me?

FRAME on BROYLES; gesturing her to come in. The MAN stands up.

BROYLES

Yes, come in.

FRAME on OLIVIA. She enters then notices the MAN's shirt, there's a faint coffee stain on it.

BROYLES (O.S)

Agent DUNHAM, meet your new PARTNER.

FRAME on the MAN. Recognizing OLIVIA, he flashes a smile then extends his hand to OLIVIA.

BROYLES (O.S)

Agent GRAYER COLE.

GRAYER COLE, 30, 6'3 athletic frame, his brown hair is cut clean on the sides but choppy and messy on top, boyish good looks; he looks more like a model than a typical FBI agent.

FRAME on OLIVIA. She too smiles, but she seems a little embarrassed; shakes his hand.

OLIVIA

Agent COLE.

COLE (O.S)

Agent DUNHAM.

OLIVIA

About the uh..

(points at his stained shirt)

FRAME on Agent COLE. He looks down at his shirt and then smiles at OLIVIA.

COLE

Don't worry 'bout it.

BROYLES (O.S)

Can you give us a minute Agent DUNHAM?

FRAME on OLIVIA. She nods at Agent BROYLES.

OLIVIA

Sure.

(she leaves)

FRAME on BROYLES. He takes a thick folder from under his desk then places it on top of it.

BROYLES

Have a seat Agent COLE.

FRAME on SIDE-VIEW. Agent COLE now seated on left of FRAME, BROYLES on the other.

BROYLES

I have a special ASSIGNMENT for you.

(he hands him the folder)

Get acquainted with the SUBJECT's files.

I want you to read every detail, every record.

We see Agent COLE opening the folder. He takes a moment to look at it. He seems surprised but very interested at what he sees.

BROYLES

(cont)

Your GOAL is to evaluate the subject's

behaviour and performance on field.

Agent COLE looks up at him, questioningly.

BROYLES

I chose you because I NEED someone

who is UNBIASED and emotionally detached to the subject.

(beat)

You will be reporting regularly to me and no one else.

Do you understand Agent COLE?

FRAME on COLE, answered calmly.

COLE

I understand sir.

INT. HARVARD UNIVERSITY – WALTER'S LAB – DAY

We see WALTER seated in front of a boiling unknown concoction, he's observing it carefully. While ASTRID is writing something on her clipboard; PETER's nowhere to be found. OLIVIA enters the lab, she hurries over to ASTRID; WALTER not noticing, still staring at the concoction.

OLIVIA

(to ASTRID)

Hey.

(she looks at WALTER)

What's he doing?

ASTRID

Being WALTER.

(they both smile)

Do we have a case?

FRAME on OLIVIA and ASTRID.

OLIVIA

No. I- uh, need you to look up something for me.

ASTRID

Sure, what is it?

OLIVIA

A file.

For Agent GRAYER COLE.

ASTRID

Is this case-related?

(then types at the computer)

OLIVIA

No.

FRAME on the Computer Screen. A photo of Agent COLE comes up along with his records.

FRAME on ASTRID, reading the data.

OLIVIA (O.S)

Anything unusual?

ASTRID

He's cute.

FRAME on OLIVIA, she found ASTRID's comment funny.

OLIVIA

Yeah but NOT relevant.

ASTRID (O.S)

Agent GRAYER MATTHEW COLE.

FRAME back on ASTRID. Starts to read the infos.

ASTRID

(cont)

A former sniper in the United States Army

served in the 101st Airborne Division,

the 75th Ranger Regiment,

and the U.S. Army Special Forces.

FRAME on OLIVIA, also looking at the screen.

ASTRID (O.S)

During his stint in the army

he held the rank of Master Sergeant.

He served in the Gulf War, Somalia and Kosovo.

While in the military he earned a Bronze Star,

National Defense Service Medal

and the Army Good Conduct Medal.

Impressive. Why are you interested in him?

OLIVIA

So there's nothing unusual. What about his medical records?

FRAME on ASTRID. She looks at OLIVIA, confused.

ASTRID

(she clicks something)

His medical record says he's perfectly fine.

OLIVIA, what are you looking for exactly?

WALTER (O.S)

She's making sure that he's REAL!

FRAME on WALTER. Apparently WALTER's listening. He takes off his goggles and walks over to OLIVIA and ASTRID.

ASTRID

Real?

WALTER

(looks at the medical records)

Blood work confirms that he's healthy AND human.

ASTRID

(looking at OLIVIA)

Is that it? You think he's a shape shifter?

FRAME on OLIVIA, she seem satisfied with what she found out. But does not answer ASTRID.

OLIVIA

Can you give me a copy of all of his files?

I just want to make sure that-

MAN (O.S)

Hello?

FRAME on a man standing at the door, he was wearing a Black Gabardine Trench Coat.

MAN

Agent DUNHAM?

FRAME on OLIVIA, she turns around to see who it was.

OLIVIA

Come in.

Agent COLE, I'd like you to meet Junior Agent ASTRID FARNSWORTH.

FRAME on Agent COLE, shaking hands with ASTRID.

COLE

Agent FARNSWORTH.

OLIVIA (O.S)

And this is DR. WALTER BISHOP.

FRAME on WALTER. He enthusiastically shakes Agent COLE's hand.

WALTER

It is so nice to meet you Agent COLE.

I'm DR. WALTER BISHOP.

COLE (O.S)

Nice to meet you too DR. BISHOP.

FRAME on THEM. We see ASTRID grinning at OLIVIA. OLIVIA ignores her.

ASTRID

(to COLE)

So you're the guy.

(to OLIVIA, almost whispering)

What's he doing here?

OLIVIA

(to ASTRID)

I don't know.

(to ASTRID and WALTER)

Agent COLE is my new partner.

ASTRID WALTER

Oh. I see..

INT. HARVARD UNIVERSITY – WALTER'S LAB – SAME DAY

We see OLIVIA and ASTRID talking; behind them WALTER is giving COLE a tour of the lab.

FRAME on OLIVIA and ASTRID. Midway their conversation, laughing at something.

ASTRID

Anyway, have you found a new place yet?

OLIVIA

Yeah I did. I'm moving in tomorrow.

ASTRID

Do you need help moving your things?

OLIVIA

(with a smile)

No but thanks.

ASTRID said nothing; OLIVIA saw that she's waiting for an explanation.

OLIVIA

(cont)

I-uh, I have everything I need here in my pocket.

My cell phone, my wallet. Car keys.

Now ASTRID is confused.

OLIVIA

(cont)

I'm NOT moving anything else, ASTRID.

I've disposed of all of my clothes except for what I'm wearing.

I-uh, ha, I honestly don't care about my things at the apartment.

(she tries to laugh about it and not to cry)

ASTRID

OLIVIA, It's okay.

(she puts a hand on her shoulder)

I understand.

(beat)

But can I help you with ONE thing?

OLIVIA

(wipes a tear in her eye)

Okay, let's hear it.

ASTRID

Well, as a friend if you're gonna buy new clothes.

May I suggest putting some color on your wardrobe?

FRAME on OLIVIA. Smiling at what ASTRID suggested.

ASTRID (O.S)

I mean since you're starting to make a change, right?

OLIVIA

(still smiling)

Right. I need some CHANGE in my life.

FRAME on ASTRID. She's also now in a happy mood.

ASTRID

(looking at WALTER and COLE)

And you got your first CHANGE.

(teasing)

Agent GRAYER COLE.

FRAME on OLIVIA, did not say anything. Instead, she watched as WALTER introduced COLE to GENE.

EXT. OUTSIDE HARVARD UNIVERSITY – SAME DAY.

We see OLIVIA and Agent COLE exiting the building where WALTER's LAB is. OLIVIA seems to be feeling a little less stressed.

COLE

That was a 'fun' lab.

OLIVIA

Yeah.

COLE

WALTER and GENE.

Great team.

OLIVIA

Ha. They ARE a GREAT team.

(beat)

How'd you know where I was?

COLE

Actually I didn't know that you'd be here.

I thought you went home.

OLIVIA

Oh.

COLE

Agent BROYLES wanted me to meet your TEAM, so I drove up here.

MAN (O.S)

OLIVIA!

OLIVIA stops walking and saw the man calling her. It was PETER.

OLIVIA

(to PETER)

Hey.

PETER

You got work for US?

OLIVIA

No. Umm - PETER this Agent GRAYER COLE.

PETER shakes hands with COLE.

PETER

Agent COLE.

PETER BISHOP.

COLE

I know. I've read your file.

Nice to meet you, MR. BISHOP.

PETER

(laughing a little)

Just PETER. Forget the 'MISTER'.

OLIVIA

(interrupting, to COLE)

PETER BISHOP is part of MY team.

(awkward pause)

Now you've met all of them,

we should be going to that..

important thing that we're gonna go to.

FRAME on PETER. He looks uncomfortable.

FRAME on COLE, sensing some tension between OLIVIA and PETER.

COLE

Right. That something.

(to PETER)

Again, nice to meet you PETER.

FRAME on OLIVIA. Trying to avoid PETER's eyes.

PETER (O.S)

I should get going too. WALTER's probably waiting for me.

FRAME on PETER.

PETER

I'll see you around Agent COLE. OLIVIA.

(he walks away)

FRAME on OLIVIA. Waiting for PETER to enter the building.

OLIVIA

I'll see tomorrow, Agent COLE.

FRAME on COLE. He gave a tiny nod.

COLE

See you tomorrow.

PAN OUT. We see OLIVIA and COLE walking in separate ways.

FADE OUT.

FADE IN.

INT. BOSTON, MA - APARTMENT – MIDNIGHT

A living room filled with unopened boxes. Agent COLE's new place has a couch, a coffee table, a kitchen table, a stove and a bed for his bedroom. Wearing a white t-shirt and denim jeans, he was seated in the kitchen in front of him, some folders and a laptop. He's particularly keen at reading a specific file, a file with Agent DUNHAM's photo; his SPECIAL ASSIGNMENT. He finishes his glass of vodka and then closes the folder.

INT. BOSTON, MA – AN IRISH PUB – MIDNIGHT

The bartender pours another round for OLIVIA, who is visibly had had more than a couple of her favourite whisky.

BARTENDER

Tough day huh?

OLIVIA

(she takes the refilled glass)

I've had worse.

WOMAN (O.S)

Hey bartender!

BARTENDER

(to OLIVIA)

Excuse me.

(he leaves)

OLIVIA downs the glass of whisky, takes her wallet out and pays for her tab. She then takes her jacket and heads out.

EXT. BOSTON, MA – OUTSIDE THE IRISH PUB – MIDNIGHT

OLIVIA decided to walk and mull things over. A couple of blocks, her phone rang. She takes it from her pocket.

OLIVIA

DUNHAM.

(she listens)

Where?

(beat)

I'll pick him up.

(she placed her phone back in her pocket)

Knowing she can't drive, she hails a cab. OLIVIA hops in.

OLIVIA

(to the cabbie)

Take me to Newbury St.

(she winces in pain, a headache)

CABBIE

(without looking at her)

I need your SHOW ME please.

OLIVIA

(holding her head)

What did you say?

CABBIE

(he faces her)

I said 'Okay'.

(beat)

Is there a problem ma'am?

OLIVIA

No. Just drive.

OLIVIA leans on the window and closes her eyes.

INT. BOSTON, MA - APARTMENT – MIDNIGHT

The lengthy frame of a man barely fits on a couch. Agent COLE had fallen asleep; the watch on his wrist says 1:15. A loud knock on the door stirs him up. He gingerly walks to the door and opens it.

COLE

Agent DUNHAM?

(surprised, he looks at his watch)

OLIVIA

Sorry to wake you up, but Agent BROYLES called.

COLE

It's fine.

(he lets OLIVIA in)

Give me a sec to change.

OLIVIA walks to the couch then sat down, the headache comes back; she massages her temple. COLE notices it.

COLE

You alright?

OLIVIA

It's just a headache.

COLE

Had too many to drink?

(beat)

I hope you didn't drive yourself here.

OLIVIA did not answer; the headache's getting worse.

FRAME on COLE. He seems concern.

COLE

Do you want coffee?

FRAME on OLIVIA. She looks up at COLE, her vision's getting hazy.

OLIVIA

Yes, please.

(she closes her eyes, hears COLE leave)

FRAME on COLE, in the kitchen, getting a cup of coffee.

CLOSE-UP on OLIVIA, her face buried in her hands; still seated on the couch. She hears COLE approaching.

COLE (O.S)

LIV, you know you can't come to work like that.

(he sounded different)

OLIVIA recognized the voice. It wasn't COLE. Slowly, she lifted up her head and saw a familiar face.

OLIVIA

LINCOLN?

FRAME on COLE, looks worried but not surprised.

COLE

(he places the cup of coffee on the table)

You don't look so well.

(he picks up his car keys)

FRAME on OLIVIA, staring at COLE, she seems back to her normal self.

OLIVIA

I'm sorry. I-uh, I thought you're someone-

never mind.

COLE (O.S)

I'm driving you home.

FRAME on COLE, putting his jacket on.

COLE

(cont)

You're tired, you need some rest.

OLIVIA (O.S)

No. I'm fine.

FRAME on OLIVIA, trying to compose herself.

COLE (O.S)

I'll call Agent BROYLES, let him know you're taking the day off.

OLIVIA

I said I'm fine.

FRAME on BOTH. COLE tries to help OLIVIA up on her feet; she pushes his hands away. She stands up on her own.

OLIVIA

Back off!

COLE takes a step back from OLIVIA.

OLIVIA

I don't need your help!

And who ARE you to tell me that I can't do my job?

That I need to take a day OFF to rest because I'm TIRED.

COLE did not say anything.

OLIVIA

You DON'T know me.

YOU don't know what I've been through.

(her voice breaks)

You don't know anything.

OLIVIA starts to cry, she sits back down on the couch. COLE stood frozen a few feet from her; he was quietly staring at OLIVIA. A cell phone rings. COLE reaches inside his pocket.

COLE

Agent COLE.

(he listens)

Yes sir, I'm on my way.

(he puts the phone back on his pocket)

COLE takes a moment before speaking.

COLE

That was Agent BROYLES.

(he places his car keys on the table)

Take my car, but please take your time to clear your head out first.

FRAME on COLE, holding a helmet, he takes a second to look at OLIVIA then goes out the door.

INT. HARVARD UNIVERSITY - WALTER'S LAB - DAY

WALTER is zipping up one of the body bags, while two men take the other two body bags out of the lab. ASTRID's tying a black trash bag. PETER's clearing a table full of folders and books. OLIVIA walks in; wearing a leather jacket and jeans, approaches WALTER.

OLIVIA

WALTER, I need to talk to you.

WALTER

OLIVIA, you look different.

(he said animatedly)

You didn't come to work,

Agent BROYLES said you were taking the week off.

OLIVIA

Yeah, but I just needed a day so I'm back now.

(she looks around)

She sees ASTRID busy cleaning as well as PETER.

OLIVIA

(cont)

Let's take a walk.

WALTER

That's a GREAT idea, and while we're at it-

I think I'd like a strawberry milkshake.

OLIVIA

(smiling)

Okay, WALTER.

WALTER

I need to tell PETER first.

OLIVIA

Of course.

WALTER leaves. OLIVIA walks to ASTRID.

FRAME on ASTRID. She just finished cleaning.

ASTRID

WALTER seems happy.

OLIVIA

I'm buying him a milkshake.

(ASTRID smiles)

Listen, have you seen Agent COLE?

ASTRID

He left two hours ago. Why?

OLIVIA

I think I owe him an apology.

ASTRID

He did seem a little preoccupied.

(beat)

Something to do with you?

OLIVIA

I guess.

(she hesitates)

I-I said some things to him. I yelled at him actually.

ASTRID

Oh.

(beat)

Why don't you call him?

OLIVIA

He's not-

WALTER (O.S)

OLIVIA! I'm ready to go.

FRAME on WALTER. Who was already at the lab's door, waiting for OLIVIA.

FRAME on OLIVIA. Smiling at ASTRID.

OLIVIA

I'll tell you everything next time.

(she walks to WALTER)

FRAME on ASTRID.

ASTRID

Sure. I'll tell Agent COLE if I see him.

FRAME on OLIVIA. She looks back at ASTRID. WALTER exiting the door.

OLIVIA

Thanks, ASTRID.

FRAME on PETER. Who was watching from afar. He walks over to ASTRID.

PETER

What was that about?

ASTRID

What?

PETER

That. OLIVIA taking WALTER for milkshake.

ASTRID

She didn't say why.

Just said that she's buying WALTER a milkshake.

PETER

Okay.

Can you call me when he gets back?

ASTRID

Sure.

PETER leaves.

INT. ICE CREAM SHOP - DAY

WALTER's enjoying his tall glass of strawberry milkshake. OLIVIA is watching him, thinking about what she needed to tell him.

OLIVIA

WALTER. I-uh, I needed to talk to you about something.

WALTER sets aside the milkshake. He looks at OLIVIA, serious and apologetic.

WALTER

PETER told me that he confessed everything to you.

(beat)

I'm so sorry OLIVIA.

I myself have been deceived by that wicked woman!

I wanted to apologize since you came back but I-

OLIVIA

(interrupting)

WALTER. This isn't about PETER.

I don't want to talk about it.

(beat)

I do appreciate your apology. But it's not your fault.

Okay?

WALTER nodded.

OLIVIA

(cont)

What I wanted to tell you is that-

I've been having this nightmare about shape shifters and-

when I'm awake, I've been seeing things that are NOT from around here.

Faces of people that I've met on the other side.

(beat)

I think that my mother is alive, when I know for a FACT that she's dead.

Some of her memories are still in my head.

I don't- I don't know who to trust anymore.

Please WALTER I need your help to get MY life back.

WALTER

Is that why you think Agent COLE is a shape shifter?

OLIVIA

I don't know-

since I got back I felt that I need to check up on everyone I meet..

WALTER

I understand.

But I'm afraid I can't let you use the tank again.

EVER. It's too dangerous.

OLIVIA reaches out and holds WALTER's hands.

OLIVIA

Please WALTER.

WALTER

I will try to find another way.

OLIVIA

Thank you WALTER.

WALTER

BUT for the meantime,

I think that it will help you if

you spend your free time doing new things.

OLIVIA

New things?

WALTER

Yes. A hobby, any activity that can stimulate your mind.

(beat)

I suggest that you have 'FUN'.

OLIVIA

FUN.

(she smiles)

WALTER

Smile more! How about spending time with your niece, Ellie.

OLIVIA

You mean ELLA.

WALTER

(he turns serious)

Talking can also help.

(he leans over, closer to OLIVIA)

See, keeping things to yourself is not healthy.

It fills up your mind with things and it can make you go mad.

(beat)

Trust me.

OLIVIA nodded. Then she smiled at WALTER.

OLIVIA

I'll do that.

Thank you WALTER.

Do you want another one?

(pointing at his empty glass of milkshake)

WALTER

Oh. I didn't realize that I emptied it.

PAN OUT. We see OLIVIA calling the waitress, she seem like she's feeling a little better now.

FADE OUT.

FADE IN.

INT. FEDERAL BUILDING – BROYLES' OFFICE – DAY

OLIVIA is talking to Agent BROYLES. She still is wearing jeans and leather jacket. BROYLES is in his usual sombre disposition.

BROYLES

I thought I told you to take the week off.

OLIVIA

Sir, with all due respect, we've had this conversation before

and I told you that I need to get back to work.

I had a DAY off, that's all I need.

(beat)

I'm fine now.

FRAME on BROYLES. Silently studying OLIVIA.

BROLYES

(sighs)

If you think that's what's BEST for you.

FRAME on OLIVIA.

OLIVIA

Thank you sir.

INT. FEDERAL BUILDING - OFFICE - DAY

We see Agent COLE reading a file on his desk; he's in a white shirt and tie, sleeves rolled up, and clean-style rigid rinse denim. A woman approaches and puts a car key in his desk. He looks up and sees OLIVIA.

OLIVIA

Thanks for lending me your car.

COLE

(he goes back to reading)

No problem.

FRAME on OLIVIA. Staring at Agent COLE, she wants to say something but hesitates.

FRAME on COLE. He looks up at her again.

COLE

What?

FRAME back on OLIVIA. She takes a deep breath.

OLIVIA

I'm sorry for what happened the other night.

I lost my temper, I didn't mean to bite your head off-

FRAME on BOTH. COLE closes the file that he was reading and turns to face her.

COLE

(interrupting)

OLIVIA, It's okay.

OLIVIA

Just hear me out first.

(She pulls up a chair and sits in front of him)

I've been through a lot in my life.

I have seen amazing things- and terrible things that you won't believe.

I lost people that are VERY dear to me.

I've been HURT, DECEIVED by someone I trust.

I thought I have a good view of things, but in the end I don't.

FRAME on COLE. Listening intently, his eyes sympathetic.

OLIVIA (O.S)

My wounds aren't healed.

CLOSE-UP on OLIVIA.

OLIVIA

And I feel like I've lost my ability to trust people.

FRAME on COLE. He gives OLIVIA a weak smile.

COLE

You're grieving. I can see that.

(beat)

Grief is an emotional suffering that we feel after a loss.

But it's also a way to heal.

In life, we know we HAVE to be strong. WE try to.

But sometimes a person has to break so we can be stronger.

FRAME on OLIVIA. Almost in tears but smiles at COLE.

FRAME on BOTH. COLE moves his chair closer to OLIVIA.

COLE

(he smiles)

You were right, I don't know you. But

if we're gonna have this relationship- working relationship.

Give me a chance to know you.

We're partners. I need to know that I can trust you.

And you can do the same with me.

Okay?

OLIVIA

(nods)

Yeah.

(beat)

I never thought that you're that DEEP, emotional kind of guy.

COLE

Let's just keep that between ourselves.

WOMAN

Excuse me Agent COLE, Agent BROYLES wants to see you in his office.

COLE

(to woman)

Okay, thanks.

FRAME on OLIVIA. She stands up and puts the chair back to where it was.

OLIVIA

I'll see tomorrow.

FRAME on COLE. He too stands.

COLE

I'll see you tomorrow.

FRAME on BOTH. OLIVIA leaves. COLE watches her until she disappeared.

FADE OUT.

END.


	2. Chapter 2 Before & After

FRINGE FF 02 "BEFORE & AFTER"

FADE IN.

INT. SOMERVILLE, MA. - APARTMENT - DAY

A swirl of steam lingers above a cup of coffee sitting on top of the kitchen table. OLIVIA takes it and carefully sips a couple. She was in a white t-shirt and black sweat pants. Barefooted, she weaves her way through a maze of boxes and shopping bags to the living room. Settling herself in a newly bought lavender couch; she stares at the mess, it made her smile then takes another sip of coffee. Her cell phones rings; she takes it from a side table then looks at the LCD. She sets the cup of coffee down at the table.

OLIVIA

Hey ASTRID.

ASTRID (O.S)

_So how's the new couch?_

OLIVIA

It's comfy.

But I think we got a LITTLE bit carried away.

(she smiles)

She looks at the maze; a couple of shopping bags from an expensive brand of clothing line, boxes of unopened appliances - an LED TV, DVD Player, a fridge and a DRYER.

OLIVIA

(cont)

I haven't opened them yet.

Just the coffee maker.

ASTRID (O.S)

_You NEED those things._

_Besides, it was therapeutic. _

OLIVIA

Yeah.

But it was UN-therapeutic for my credit card.

(ASTRID laughs)

OLIVIA

(cont)

I'll set everything up later.

ASTRID (O.S)

_Hey, I got an idea._

_Why don't you call Agent COLE to help you out, _

_get everything out of their box?_

OLIVIA

Umm - No.

I think I can handle it myself.

ASTRID (O.S)

_Oh you were thinking about it._

OLIVIA

Thinking about what?

ASTRID (O.S)

(laughs)

_You know,_

_Agent COLE helping you out is a GREAT idea._

OLIVIA

Ha. Are we in high school?

I'll do it alone, so I can keep myself busy.

(she hears a beep)

ASTRID (O.S)

_It's the same thing._

_I'll call him if you want._

OLIVIA

(interrupting) 

Hey, can I call you back I have an incoming call.

ASTRID (O.S)

_Alright. I'll give him a call. Bye!_

OLIVIA

Wait- No. ASTRID!

Ugh.

ASTRID's gone. Takes a deep breath, she takes the other call.

OLIVIA

DUNHAM.

(she listens)

I'm on my way sir.

INT. CAR - ON THE ROAD - DAY

We see PETER driving; he takes a bite out of a sandwich. WALTER is eating a piece of Red Vine.

FRAME on PETER. Chewing.

WALTER (O.S)

Oh! Oh!

PETER

What? What?

(panicking a little)

Startled, he dropped the sandwich.

FRAME on WALTER. Brandishing the piece of Red Vine in front of PETER.

WALTER

PETER!

I've just remembered

where I've hidden your LUNCH BOX!

FRAME on PETER. Annoyed, he brushes off a lettuce on his pants.

PETER

WALTER you almost gave me a heart attack

because of a LUNCH BOX?

FRAME on WALTER.

WALTER

(ignores PETER)

Ha! Now I remember!

(happy, takes a bite of Red Vine)

THEN his face turns from EXCITEMENT to CONFUSION.

FRAME back on PETER. Not noticing WALTER's expression.

PETER

(smiling a little)

You remembered a hidden location of a LUNCH BOX.

I'll bet that it contains a device

that can destroy the world.

(he looks at WALTER)

FRAME on WALTER. He seems to be thinking, holding the Red Vine in front of him. Then his expression changes back to a SMILE.

WALTER

I don't think so.

But I believe I took that LUNCH BOX

one morning BEFORE you went to school.

CLOSE-UP on PETER. Shows a little disgust.

PETER

A mysterious LUNCH BOX

that may contain a 20-year old

peanut butter and jelly, a juice box and an apple.

Great.

FRAME on WALTER.

WALTER

Not really mysterious. But RARE!

It's a 1964 BEATLES Kaboodle Kit!

FRAME on SIDE VIEW. PETER on FOREGROUND, WALTER on BACKGROUND, blurred.

PETER

(shaking his head)

Oh WALTER.

(he smiles)

INT. FEDERAL BUILDING – DAY

We see Agent BROYLES and OLIVIA talking in his offices. Agent COLE walks to his desk, he takes his jacket off and hangs it on his chair. He looks up at BROYLES' office, sees OLIVIA about to exit; he walks up to her.

COLE

Can I get you a coffee? I was just about to get some -

OLIVIA

Umm- no thanks.

COLE

You sure?

OLIVIA

(he was about to walk away)

Hey GRAYER?

COLE

Yeah?

OLIVIA

Did umm- Agent FARNSWORTH called you?

COLE

She did, yeah.

(smiling)

OLIVIA

(*with her usual fidgety hand gestures when she's explaining something)

About that, I uh- I don't think I need you to help me set up

the uh- TV, the DVD player and -

anyway, uh, ASTRID thinks that I do.

*If you ARE a FRINGE fan, you know what I'm talking about. Anyway..

FRAME on COLE. His smile fades; He's listening attentively.

FRAME on OLIVIA. Going on and on.

OLIVIA

(cont)

But reading the owner's manual, plugging in the cables myself is

what I need right now.

So, thank you BUT I can manage on my own.

(she politely smiles at him)

FRAME on COLE. He smiles back.

COLE

O-kay.

But Agent FARNSWORTH didn't mention any of that.

She called to remind me about a report-

FRAME on OLIVIA. She turns, just a little shade of, red. Then smiles.

OLIVIA

I uh- I'm sorry.

I assumed that when you said yes,

SHE called you about-

that.

FRAME on BOTH. A moment of awkwardness. A splint second, but definitely a MOMENT.

COLE

It's okay.

(he turns, about to leave)

But if you change your mind, I can help.

Just give me a call.

Purple looks great on you by the way.

OLIVIA's wearing a purple shirt. With a more feminine style than what she usually wears.

OLIVIA

Uh- Thanks.

COLE walks away.

FRAME on OLIVIA.

OLIVIA

(shakes her head, smiling)

Thanks ASTRID.

(talking to herself)

She walks to her office.

INT. NEW YORK, NY. - PARK SOUTH HOTEL - BATHROOM - NIGHT

FRAME on a woman, she SEEM to be relaxing in a tub. But NO bubbles? And she's in her underwear too.

CLOSE-UP on her face. A woman, blonde hair, 30 something, we see that she's actually crying. Terrified even.

PAN OUT. A man knelt beside the tub; wearing only a denim jean, pushes her under the water. She struggles against him, to breathe. The man maintains a firm grip on her; submerging her until she stops moving. He pulls her out of the tub and lays her on the tiled floor.

FRAME on the MAN. In his early 40's, his hair shows a couple of strands of white. A 5 o'clock shadow on his strong chin and jaws. His body, a well-built 6'2" frame. He looks down on the woman. His eyes, shows remorse for a couple of seconds then transforms into a murderous, evil stare. He performs CPR on her until she coughs out some water and starts to breathe again. He smiles at her.

MAN

Welcome back.

WOMAN

Oh, please- NO! please let me go!

MAN

Shh, shh.

(woman cries hysterically)

WOMAN

Don't kill me! Please!

MAN

I'm not going to kill you.

(he strokes her hair)

Not YET.

He grabs her by her hair and pulls her up to her feet. Suddenly, the MAN's face winces in pain.

MAN

(to himself)

STOP this! I'm NOT gonna let you do this ANYMORE!

(he closes his eyes then opens it)

You think you CAN stop me?

CLOSE-UP on the MAN's face. SCREAMS in pain. He suddenly transforms; his strong jaws turn into a smooth, clean shaven one. His once evil, green eyes turn to blue, filled fear looking at the woman.

MAN

(still talking himself)

I'M GOING TO STOP YOU!

FRAME on the WOMAN. She stopped crying hysterically, and stared at the MAN still holding her; shocked.

FRAME on the MAN. His body also transformed, from muscular to lean; he seems a couple of inches shorter from his previous 6' 2" frame. But his hair didn't change, still has streaks of white. Now he looks more like a normal guy in his 40's.

MAN

(to the woman)

I'm NOT gonna hurt you.

(he releases her)

The WOMAN collapses on the floor, staring at the MAN who just transformed in front of her eyes. The MAN leaves in a hurry.

FADE OUT.

FRINGE OPENING THEME.

INT. FEDERAL BUILDING - LOBBY/ELEVATORS - DAY

A Federal agent scans his I.D. then hurries over the closing doors of the elevator. He stretches out his arm, the door elevator door opens, hops in. About to push the floor button, he sees it's already been pressed. A couple of people were inside; he stands in front of a blonde woman, behind her were two other Federal agents. Not noticing a little girl holding the blonde woman's hand. The elevator stops at a floor; the two agents at the back about to step out.

AGENT #1

(to the blonde woman)

Excuse me ma'am.

The Blonde woman makes way, pulls the girl closer to her. The other agent knocks the little girl's teddy bear out of her arms. He didn't notice it, hurrying on his way out. The elevator door closes. The Agent in front of the blonde kneels down to pick up the bear and hands it over to the little girl.

AGENT

Here you go.

LITTLE GIRL

Thank you.

AGENT

You're welcome.

That's an unusual looking bear.

BLONDE WOMAN

It's her favourite.

We see that it's a stuffed BURLAP BEAR. The Agent looks up at the Blonde, he smiles at her, he stands.

AGENT

(to the little girl)

You here to see your dad?

LITTLE GIRL

No.

They reach a floor; elevator door opens. The woman answers the Agent.

BLONDE WOMAN

We're here to see her aunt. My sister.

LITTLE GIRL

Aunt LIV!

FRAME on OLIVIA. Standing in front of the elevator, dialling on her cell phone; surprised to see the people inside.

OLIVIA

ELLA?

(ELLA runs to her and gives her a hug)

PAN OUT. We see the BLONDE WOMAN stepping out of the elevator. The Agent still inside looking at them.

OLIVIA

RACH.

(she hugs her)

Can you hold the door?

(to the Agent inside the elevator)

She carries ELLA then ushers RACHEL back inside the elevator and steps in.

FRAME on THEM inside the elevator. OLIVIA pushes the '1' button. The Agent stood at the back corner.

OLIVIA

We'll have to talk on our way down.

ELLA

What's wrong aunt LIV?

RACHEL

I'm sorry. I should've called you first-

OLIVIA

(interrupting)

No. It's okay. It's just we're on our way to a case.

(to the Agent at the back)

I was just about to call you.

Umm. This is my sister RACHEL and my niece ELLA.

FRAME on the Agent. He's smiling.

OLIVIA (O.S)

This is Agent GRAYER COLE.

FRAME on OLIVIA, RACHEL and ELLA, still carried by her aunt.

OLIVIA

(to RACHEL)

My new partner.

RACHEL

(to COLE, shakes his hand)

Oh. Nice to meet you, Agent COLE.

(to OLIVIA)

We can talk later.

OLIVIA

Yeah. Listen, I'm really sorry-

RACHEL

No. Of course I understand.

OLIVIA

Here's my key to the apartment.

Wait for me there, okay?

RACHEL takes the key. She notices OLIVIA's wardrobe; it's different.

RACHEL

LIV, am I going color blind?

Or is that a RED shirt you're wearing?

(she's smiling)

OLIVIA

No, you're not.

And yes, it is RED.

(she too smiles)

OLIVIA

(cont)

(to ELLA)

You're getting heavy!

(noticing the bear)

What's that you got there?

ELLA

It's for you, aunt LIV.

OLIVIA

For me?

ELLA places the bear on OLIVIA's shoulder.

ELLA

Yeah. He'll keep you safe.

I asked him to.

OLIVIA

(smiling)

Aww. Thank you, baby girl.

FRAME on Agent COLE. Can't help but smile.

FRAME back on OLIVIA, ELLA and RACHEL. They all seem happy.

INT. LINCOLN NAVIGATOR - ON THE ROAD - DAY

OLIVIA's staring at the BURLAP BEAR she was holding. COLE, driving, he takes a glance at OLIVIA.

COLE

(in a high-pitched BURLAP BEAR voice)

Don't you worry OLIVIA. I'll keep you safe.

Just like I promised little ELLA.

FRAME on OLIVIA. Smiling at COLE.

COLE (O.S)

She's a sweet kid.

OLIVIA

(looking at the bear)

Yeah. She IS.

She places the BEAR on top of the dashboard.

FRAME on COLE. Takes a peek at the rear view mirror then on the road.

COLE

So where are we going?

OLIVIA (O.S)

New York University Medical Center.

FRAME on OLIVIA.

OLIVIA

(cont)

Agent BROYLES' going to meet us there.

INT. NEW YORK UNIVERSITY MEDICAL CENTER - DAY

Agent BROYLES, arms folded, in his hand a file; sternly looking through a window.

FRAME on a nurse checking up on a patient, a WOMAN; she looked pale and scared.

PAN OUT. BROYLES standing outside the room. OLIVIA and COLE approach him; he faces them.

OLIVIA

Sir.

BROYLES

Agent DUNHAM. Agent COLE.

COLE

Sir.

BROYLES

(hands each agent a folder)

KATHRYN BENFORD, 33, a bartender at a club.

The receptionist at the Park South Hotel called the police.

At 8:15 pm,

One of their guests found her curled up outside their room.

FRAME on COLE. Reading the file.

OLIVIA (O.S)

And we're here because?

FRAME on BROYLES.

BROYLES

According to the guest who found her.

BENFORD was shaking, terrified at something.

COLE (O.S)

According to this, she said that the man who attacked her..

FRAME on COLE. Still reading the files.

COLE

(cont)

..TRANSFORMED in front of her eyes.

FRAME on OLIVIA. Intrigued.

OLIVIA

Transformed, HOW?

BROYLES (O.S)

She said that she went to the hotel

with a man she met at the club.

FRAME on BROYLES.

BROYLES

Early 40's, 6'2" well-built.

(beat)

He tried to kill her by drowning her in the tub.

But the MAN who left the room,

she said was a different MAN.

And there's one more thing, several unsolved cases came up.

Same M.O. Victims drowned in the tub. No suspects.

Unfortunately all of them are DEAD.

FRAME on COLE.

COLE

Except for this one.

INT. SOMEWHERE IN NEW YORK - AN OLD APARMENT - UNKNOWN TIME

We see a MAN, with GREEN eyes, staring angrily at his reflection on a grainy mirror.

MAN with GREEN eyes

(to himself)

You LEFT her ALIVE!

I thought you were the SMART ONE.

Now, they're gonna FIND YOU!

FRAME on the MIRROR. The MAN on the MIRROR; he had BLUE eyes, visibly angry but he has a softer feature than the MAN on the other side.

MAN with BLUE eyes

No! They're GOING to FIND US!

If I can't stop YOU, then they WILL!

FRAME on SIDE VIEW. The MAN with the GREEN eyes closes his fists and punches the mirror in front of him. The mirror shatters on his fist, he bleeds. We see him breathing heavily.

INT. NEW YORK UNIVERSITY MEDICAL CENTER - VICTIM'S ROOM - DAY

OLIVIA was standing beside the bed, COLE's at the foot of the bed.

OLIVIA

My name is OLIVIA DUNHAM. This is Agent GRAYER COLE.

We're with the FBI.

Ms. BENFORD-

BENFORD

Call me KATE.

OLIVIA

KATE. We're sorry for happened to you,

BUT we need you to tell us everything,

about the MAN who attacked you.

FRAME on KATE. She hesitates, looks at BOTH agents.

KATE

Okay.

OLIVIA (O.S)

Let's start from the top.

FRAME on OLIVIA.

OLIVIA

Where'd you meet him?

FRAME on KATE. She looks very pale and her lips are chapped.

KATE

I bartend at a club, LATITUDE in 8th Ave.

He came to the club last night.

He hang out at the bar, I served him drinks.

(beat)

We talked. He was very charming.

OLIVIA (O.S)

Did you ask his name?

KATE

His name was EDWARD HARVEY.

He said he's a doctor, a neurologist I think, I'm not sure.

FRAME on OLIVIA. Taking notes.

FRAME back on KATE.

KATE

(cont)

So I told him to wait for me after my shift.

(starts to tear up)

He took me to this fancy hotel. And then-

(buries her face on her hands)

OLIVIA

It's alright KATE.

KATE

(looks up)

He- he drowned me at the tub. I couldn't BREATHE.

Then I- guess I fell unconscious.

When I woke up, I can feel the water in my lungs.

I can't see him very clearly at first.

(pauses)

He said to me, "Welcome back"

I remember begging him to STOP.

I said "Don't kill me".

He was going to put me back in the tub, when

he suddenly talked to himself.

He said, "STOP this".

Then he changed.

FRAME on OLIVIA. She's listening intently.

FRAME on COLE. Talking for the first time.

COLE

How did he change?

CLOSE-UP on KATE. She's trying to recall the details.

KATE

I noticed his eyes first.

They were GREEN then it turned BLUE.

Then his whole face.

It was a different man.

FRAME on OLIVIA.

OLIVIA

You said on the report that the man 'SHRUNK'.

KATE (O.S)

Yes.

FRAME on KATE.

KATE

He- was at first taller than me.

About 5 inches taller I guess.

Then when he 'TRANSFORMED', we were about the same height.

And he became thinner.

COLE (O.S)

Decreased muscle mass.

KATE

(looking at him)

I'm telling you it was a different man.

(agitated)

The vital monitors beside her starts to beep.

FRAME on OLIVIA.

OLIVIA

When he changed, did you notice if he was younger or-

KATE (O.S)

No.

PAN OUT. A nurse walks in.

NURSE

Excuse me Agents. I think it's enough for today.

She needs to rest.

OLIVIA

Of course.

Thanks for your time Ms. BENFORD.

OLIVIA and COLE exit the room. They walk.

OLIVIA

We need the surveillance record from the hotel and their guest list.

COLE

I'm on it.

FRAME on OLIVIA. She thinks for a second then stops walking; faces COLE.

OLIVIA

Let me get this straight.

He drowns her in the tub, possibly killing her.

THEN he tries to save her, and then

he kills her again?

FRAME on COLE.

COLE

It looks to me like he's on some

POWER trip.

He likes to be in control.

FRAME on OLIVIA.

OLIVIA

What kind of a human being does this kind of thing?

FRAME back on COLE. He starts to walk.

COLE

Apparently, a metamorphing monster.

OLIVIA (O.S)

We have to stop this man.

OLIVIA touches the back of her neck. Remembers the shape shifters; she seems stressed about it. COLE notices.

COLE

You okay?

OLIVIA

Yeah. I just remembered something.

COLE

Do you want to talk about it?

OLIVIA

No.

COLE

Okay.

Why did you asked her,

when the MAN changed,

if he changed to a younger 'him'?

Is that what you meant?

OLIVIA

Yeah.

It's a possibility.

(beat)

What do YOU think?

COLE

I think it's the same guy. And the 'transformation' thing?

Well, she suffered a major trauma maybe she's-

OLIVIA

-she's seeing something that's NOT really there.

You think she's crazy or something?

COLE

It's a possibility.

(he smiles)

FRAME on OLIVIA. She smiles back.

OLIVIA

You're a hard guy to convince, huh?

COLE (O.S)

Maybe.

FRAME on COLE.

COLE

I'll believe it when I see it.

EXT. HARVARD UNIVERSITY - GROUNDS - LATE AFTERNOON

PETER is trying to keep up with a 'dashing' WALTER, who is carrying a shovel.

PETER

WALTER! Where are you going?

WALTER

WE are going to get your LUNCH BOX!

PETER

(going along)

You buried it?

WALTER

(looks at the shovel)

No.

He stops abruptly, PETER almost bumping into him. WALTER faces him.

WALTER

(cont)

I don't know. BUT we may have to dig it up.

Though I'm pretty sure that it's NOT underground.

PETER

That's confusing.

WALTER continues to walk. PETER cell phone rings. He takes it from his jacket pocket.

PETER

Hello?

(Listens)

Thank GOD. You're a LIFE saver ASTRID.

We're on our way back.

PETER ends the call.

PETER

WALTER!

That was ASTRID, we have to go back to the LAB!

WALTER, who was a good distance from PETER. Looks back and can't hear him.

WALTER

What's that, PETER?

PETER catches up to him, a little out of breath.

PETER

We'll look for your LUNCH BOX next time.

We need to get back to the LAB.

WALTER

What? I walked all the way OUT here-

whoever that was, tell them to WAIT.

This will just take-

PETER

(cutting in)

WALTER, we can't make THEM wait.

It's about a CASE.

So come on, let's go.

WALTER

BUT-

PETER takes the shovel from WALTER's hands.

PETER

I promise we'll find it right after WE finish this case. Okay?

WALTER nods then they BOTH walk back to the LAB.

INT. FEDERAL BUILDING - OLIVIA'S OFFICE - LATE AFTERNOON

OLIVIA's desk is brimming with files related to the case they're working on. She's wearing her reading glasses, looking at a file. She types a name on her computer; EDWARD HARVEY. After a few seconds, the screen flashes the words 'NO MATCH FOUND'. She puts a big question mark on her notebook next to the name EDWARD HARVEY. Then picks up the phone and dials a number.

OLIVIA

Hey ASTRID, it's me.

Did you get the surveillance records yet?

ASTRID (O.S)

_I just got it. I'm looking through it right now._

OLIVIA

And the guest list?

ASTRID (O.S)

_Yeah. It's here._

OLIVIA

Umm, could you do me favour and look through them-

ASTRID (O.S)

_See if there's anything that looks suspicious. _

_Don't worry I got it._

OLIVIA

And can you double check the name 'EDWARD HARVEY' for me.

I found NO match on record.

ASTRID (O.S)

_EDWARD HARVEY. Okay I'll check it._

OLIVIA

Thanks. I just have to go home early,

RACHEL and ELLA are waiting for me at my place.

ASTRID (O.S)

_No problem._

_Tell ELLA I said hi._

OLIVIA

Okay, I will.

Call me when you find something.

ASTRID (O.S)

_Of course. Bye._

OLIVIA

Bye.

She puts the phone down and takes her glasses off; stands, she puts on her jacket. Closes the files and arranges them neatly inside a briefcase then exits her office.

INT. FEDERAL BUILDING - PARKING LEVEL - LATE AFTERNOON

OLIVIA, holding a briefcase, walks to her car; a man runs after her.

MAN

OLIVIA!

She turns to see who it was. It's Agent COLE.

OLIVIA

Is there something wrong?

COLE

No.

I was just wondering if you can give me a ride.

OLIVIA

Why- where's your car?

COLE

I'm meeting someone

and I think I'll be drinking a couple of rounds. So-

OLIVIA

You won't be able to drive home.

Very responsible.

COLE

Well, I'll be taking a cab home.

I just don't want to leave my car there.

OLIVIA

(she smiles)

Sure, get in.

COLE opens the door for OLIVIA, then walks to the passenger side and gets in.

COLE

I owe you one.

OLIVIA

No problem.

COLE

Don't worry, I know you're in a hurry to get home.

It's just a couple of blocks from your place.

So I'll get off at your apartment then I'll just walk.

OLIVIA

Okay.

INT. HARVARD UNIVERSITY - WALTER'S LAB - LATE AFTERNOON

ASTRID is seated in front of the computer, carefully watching the surveillance tapes from the hotel. PETER and WALTER burst through the door. WALTER looks gloomy; on the contrary, PETER looks very relieved.

ASTRID

Hey guys.

(not taking her eyes off the monitor)

PETER looks around.

PETER

Where's OLIVIA?

FRAME on WALTER.

WALTER

Where's the BODY?

ASTRID (O.S)

There's NO body.

FRAME on PETER. He seems confused.

PETER

So what are we going to do-

without a body to examine?

FRAME on ASTRID. She presses something on the keyboard; the video on the monitor stops. She gets up from the stool and walks past PETER.

ASTRID

It appears that there WAS no body.

The victim survived.

(she disappears for a second)

FRAME on PETER. He takes a folder on top of the table; reads it.

FRAME on WALTER. He walks toward GENE.

ASTRID (O.S)

OLIVIA asked me to look at some surveillance tapes.

ASTRID reappears, holding a bottle of soda.

FRAME on ASTRID. She sits back in front of the computer. PETER moves beside her; still reading.

PETER

Have you read this?

It says here that

'the man who attacked her TRANSFORMED'

that he was a different man when he left.

ASTRID

Yeah, another really mind-boggling case.

PETER

Maybe she was on drugs.

ASTRID

No.

Tox screen showed no signs of drugs in her system.

PETER

WALTER, what do you think?

WALTER doesn't respond.

PETER

WALTER?

(he looks around)

FRAME on WALTER. He was brushing GENE's coat; he seems upset. GENE's mooing softly.

FRAME on ASTRID and PETER.

ASTRID

What's wrong with WALTER?

PETER

He's just angry 'cause we haven't found

that LUNCH BOX.

ASTRID

I thought he said he remembered where he hid it?

PETER

That's what he told me.

But you know WALTER.

ASTRID looks over at WALTER. He's really upset.

ASTRID

Look, PETER.

I think you should go and help him find it.

Clearly it's upsetting him.

PETER

Yeah. It is.

ASTRID

So go.

There's not really much to do here.

I've got this.

PETER

Are you sure?

ASTRID

Yup.

I'll let you know when I find something.

PETER

Okay. Thanks ASTRID.

WALTER let's go find that LUNCH BOX!

FRAME on WALTER. He drops the brush loudly on a bucket; a wide smile on his face.

PAN OUT. WALTER and PETER leaving; ASTRID wave them goodbye.

EXT. SOMERVILLE, MA. - OLIVIA'S APARTMENT - LATE AFTERNOON

A black LINCOLN NAVIGATOR parks at the side of the road; OLIVIA, carrying a briefcase and the BEAR, steps out. Followed by COLE; they see RACHEL seated on the stairs, watching ELLA playing at the sidewalk.

ELLA

Aunt LIV!

(runs to OLIVIA)

OLIVIA

(RACHEL takes her things)

Hey.

What are you guys doing outside?

(she picks up ELLA)

RACHEL

She wanted to wait for you.

OLIVIA sees RACHEL's eyes, looks like she's been crying; but she's trying not to in front of ELLA. COLE noticing that the sisters needed some time to talk; decides to talk to ELLA.

COLE

Hey. I'm hungry.

Do you want to go for some ice cream?

ELLA

(her eyes lit up)

Can we buy some for MOM and aunt LIV?

COLE

Sure.

But you have to ask them first.

ELLA

(to OLIVIA and RACHEL)

Can I go with Agent COLE? Please aunt LIV?

MOM? Can I?

RACHEL

(smiles)

You can go, sweetheart.

ELLA looks at her aunt, who was still carrying her. OLIVIA pretends to looks serious.

ELLA

Aunt LIV?

OLIVIA breaks into a smile.

OLIVIA

Of course you can go.

ONLY if you promise to look after Agent COLE.

ELLA

I promise.

(she gives OLIVIA a kiss on the cheek)

OLIVIA puts ELLA down and looks at COLE. Their eyes meet; she mouths the words 'Thank you'. COLE smiles at her then looks at ELLA.

COLE

(to ELLA)

Ready to go?

ELLA

Yes!

COLE

Great, let's go.

ELLA

Bye MOM! Bye Aunt LIV!

OLIVIA

Take care you two.

COLE and ELLA leaves.

OLIVIA

(to RACHEL)

Come on.

OLIVIA helps RACHEL up on her feet; takes her things then they both went inside the apartment.

INT. SOMERVILLE, MA. - ICE CREAM SHOP - NIGHT

ELLA's halfway through her gigantic bowl of strawberry sundae. Agent COLE ordered a root beer float; he watches her with a smile.

ELLA

Agent COLE?

COLE

Just call me GRAYER.

ELLA

How 'bout GRAY?

COLE

Sure. GRAY's fine.

What is it ELLA?

ELLA

(after swallowing a spoonful of ice cream)

I thought you were meeting someone here?

Where is she?

COLE

She's on her way.

ELLA concentrates on eating her ice cream for a moment; then she looks at COLE.

ELLA

So, are you, like aunt LIV's boyfriend?

COLE

(laughs but his face turns red)

No.

ELLA

Do you like her?

COLE

Do I like her?

(clears his throat)

You mean OLIVIA?

(stalling)

ELLA

Well?

COLE

If I say yes,

Would you tell her?

ELLA

No.

(eats another spoonful)

COLE

Okay.

Then yes.

ELLA

I think she likes you too.

COLE

What makes you say that?

ELLA

I saw a photo of you on her computer.

(beat)

I think you're perfect for aunt LIV.

COLE

(smiles at her)

Perfect, huh.

ELLA goes back to eating the strawberry ice cream.

INT. SOMERVILLE, MA. - OLIVIA'S APARTMENT - NIGHT

OLIVIA sees her laptop on top of the coffee table, it's open. We see Agent COLE's photo; some files on the screen.

RACHEL

I'm sorry.

ELLA was looking for something to play with,

she saw your computer and-

OLIVIA

(closes the laptop)

It's okay.

OLIVIA sits on the couch; RACHEL follows.

RACHEL

(smiling)

ELLA saw Agent COLE's photo.

OLIVIA

I was reading his records.

RACHEL

ELLA thinks you like HIM.

OLIVIA

(laughs, turns red)

I need to remember NOT to leave my computer ON.

(beat)

Are you going to tell me what happened?

RACHEL

(hesitates)

GREG and I, we had an argument.

He was going to hit me,

BUT he saw ELLA and he stopped.

OLIVIA

What? Did you call the police?

RACHEL

No. I didn't know what to do.

I just- packed our bags and decided to come here.

(beat)

I don't think we can work things out this time.

OLIVIA

You know that I'm always here for you and for ELLA.

Whatever your decision is, I'll be there to help you.

RACHEL

I don't know what I'm going to do without you.

OLIVIA

RACH.

RACHEL cries; they hold each other close.

INT. SOMERVILLE, MA. - ICE CREAM SHOP - NIGHT

ELLA was laughing hard; the ice cream bowl in front of her is now empty. We see a beautiful woman, probably in her late 20's, seated beside her; also laughing.

ELLA

(to COLE)

Are YOU really scared of spiders?

WOMAN

Yeah he is!

COLE

And you're NOT?

(laughs)

Come on, ever since I saw that movie "Arachnophobia"

I can't get it out of my head.

WOMAN

It's just a movie GRAY.

COLE

(to ELLA)

Well, she's scared of CLOWNS.

(ELLA giggles)

WOMAN

No, no.

I'm NOT scared of CLOWNS.

I hate them!

There's a difference, you know.

ELLA and COLE both laughing. The WOMAN joins them. COLE looks at his watch.

COLE

(to the WOMAN)

Before I forget, Happy Birthday.

He reaches inside his jacket and takes out a long, flat velvet box; he hands it to the WOMAN.

WOMAN

Aww, thanks GRAY.

She takes the gift and opens it; it was a bracelet. She puts it on her wrist.

ELLA

(to the WOMAN)

I'm sorry I don't have a present for you.

WOMAN

That's okay, sweetie.

You know what, I'm glad I came here with you guys.

This is the BEST birthday EVER.

ELLA smiles. And so does COLE.

ELLA

(to COLE)

Can we go to the park?

COLE

Okay, we still have time.

ELLA

(to the WOMAN)

Come with us.

WOMAN

Sure. I'd love to.

INT. SOMERVILLE, MA. - OLIVIA'S APARTMENT - NIGHT

OLIVIA's carrying a pair of wine glass and puts in the counter near the sink; then goes back to the living and takes her cell phone, she dials a number. We can see RACHEL curled up on the bed in OLIVIA's room.

OLIVIA

Hey. It's me.

How's ELLA?

COLE (O.S)

_She's fine. We're at the park._

_Should I take her back now?_

OLIVIA

(looks at her watch)

Umm- yeah. Sure, it's late, so-

COLE (O.S)

_Okay. We'll see you in a bit._

OLIVIA

Okay, bye.

INT. NEW YORK UNIVERSITY MEDICAL CENTER - HALLWAY - NIGHT

We see a DOCTOR reading from a clipboard he's holding; he passes by a dark room with a window, he sees his reflection. Stops for a second, he seems angry then looks away; he walks quickly towards the nurses' station. But before he can reach it, he passes by a room and catches a glimpse of a patient.

FRAME on the DOCTOR. He recognizes the patient on the room; his BLUE eyes widens in fear.

FRAME on the PATIENT. It's KATE BENFORD.

FRAME back on the DOCTOR. He looks like he's going to be sick.

CLOSE-UP on his EYES. His BLUE eyes suddenly turns GREEN.

FRAME on the DOCTOR. He turns around, he's whole body is trembling.

FRAME on a NURSE. She approaches the DOCTOR.

NURSE

Dr. STEVENSON, are you alright?

The DOCTOR looks at her, his eyes back to GREEN; does not respond leaves immediately.

INT. SOMERVILLE, MA. - OLIVIA'S APARTMENT - NIGHT

OLIVIA is sitting on the couch, her head resting on her hand; she's taking a quick nap while waiting for ELLA. A knock on the door wakes her up; she walks to the door, opens it. We see ELLA, carried by COLE, her head snoozing on his shoulder. The WOMAN is standing behind COLE. OLIVIA, a little surprised, lets them in.

COLE

(quietly)

Where should I-

OLIVIA

Oh, take her to my room.

RACHEL's in there.

(she guides him)

Have a seat.

(to the WOMAN)

FRAME on COLE. He gently puts ELLA on the bed, beside RACHEL. Then covers her with the blanket.

COLE

(whispers)

Goodnight kiddo.

OLIVIA gives ELLA a kiss on the forehead; turns the lamp off then they leave quietly.

FRAME on the WOMAN. She stands up when OLIVIA and COLE walks in the living room.

FRAME on OLIVIA and COLE.

COLE

She fell asleep on our way back here.

Probably exhausted,

she was running around the park.

(he laughs)

OLIVIA

GRAYER, I-uh,

I'm sorry I forgot that you were meeting someone.

I should've told ELLA-

COLE

(interrupting)

It's fine.

COLE sees the WOMAN, waiting but she was smiling. He moves towards her.

COLE

OLIVIA, I'd like you to meet my sister, ALEX.

FRAME on the WOMAN. She extends a hand to OLIVIA.

ALEX

It's a pleasure to meet you, OLIVIA.

OLIVIA shakes her hand.

FRAME on THEM.

OLIVIA

Hi- pleasure to meet you too.

I'm sorry for making your brother babysit.

I know you had plans-

ALEX

Don't worry about it.

Actually it was nice that ELLA's with him

or he'll bore me to death.

(joking)

They all laugh. A cell phone rings; OLIVIA takes it from her pocket.

OLIVIA

DUNHAM.

(listens)

Okay. We'll be there.

OLIVIA

(to COLE)

That was ASTRID.

She found something.

ALEX

(to COLE)

Work?

COLE

Yeah.

ALEX

I should head back to the hotel,

early flight tomorrow.

OLIVIA

You work abroad?

ALEX

You could say that.

I'm a flight attendant.

COLE

We'll drop you off, it's late

and I'm NOT letting you take a cab.

ALEX

Okay, DAD.

FRAME on OLIVIA, as she gets her keys, she sees ALEX playfully punches her brother in the arm. COLE complains. She smiles.

EXT. SOMEWHERE IN HARVARD UNIVERSITY - NIGHT

We see PETER knee-deep in the ground, digging with a shovel. While WALTER, to his excitement, holds the flashlight unsteadily.

PETER

WALTER!

Will you please hold the light steady?

I can't see a thing.

And it makes me dizzy.

WALTER

I'm sorry PETER.

But this makes me nervous.

PETER

You've been doing that for the past five holes

I've dug up.

(continues to dig)

WALTER

And I think I need to pee.

PETER rolls his eyes; suddenly he hits something, sounds like a hollow wooden box. He looks up at WALTER; who was, now, steady as a statue.

FRAME on PETER. He sets the shovel aside and uses his hands to dig up the box. It's a medium sized wooden chest, big enough to hold a metal LUNCH BOX. He takes it and gets himself out of the hole; gives it to WALTER.

FRAME on WALTER. He takes it and stares at it like it was made of gold.

PAN OUT. We see PETER moving closer to WALTER as he opens the box.

FRAME on the BOX. The lid slowly opens; the LUNCH BOX is indeed inside. It was RED, with an image of the BEATLES. WALTER takes it and tosses the wooden chest aside.

FRAME on WALTER. He looks at it closely; he unexpectedly remembers something. He gives the LUNCH BOX to PETER.

FRAME on BOTH. PETER takes it; puzzled. WALTER turns his back.

PETER

WALTER what's wrong?

WALTER

Open it.

(without looking at him)

PETER reluctantly opens it. He sees the content; looks like he's seen a ghost.

PETER

Why do YOU have this?

WALTER?

FRAME on WALTER. He does not say anything.

INT. LINCOLN NAVIGATOR - ON THE ROAD - NIGHT

We see OLIVIA , focused on the road, but she's smiling; COLE's in the passenger seat, behind him is ALEX. The siblings are still at it; joking around.

COLE

(to OLIVIA)

Maybe we should just drop this

CRAZY person behind me

in the middle of nowhere.

OLIVIA smiles.

OLIVIA

Are you two always like this?

ALEX

Oh yeah.

Always.

COLE

She ALWAYS gets on my nerves.

ALEX

BUT he still loves me.

(she tries to give COLE a kiss on the cheek)

COLE moves his face away; laughing. ALEX catches a glimpse of OLIVIA's tattoo.

ALEX

(to OLIVIA)

That's a cute tattoo.

OLIVIA

What?

ALEX

At the back of your neck.

OLIVIA

Oh.

(she touches the tattoo)

COLE

I didn't know you had one.

OLIVIA

It was a mistake. I-uh I'm gonna have it removed.

ALEX

Ha. You and GRAY have a lot in common.

OLIVIA

What do you mean?

ALEX

Oh, I guess you haven't seen it.

OLIVIA

Seen what?

COLE

Of course, she hasn't seen it.

ALEX

The scar on his chest, where a tattoo used to be.

And that other big tattoo on his back.

OLIVIA

Umm- NO.

COLE

Here we go again.

ALEX

Well, OLIVIA. GRAY here, also made a HUGE mistake

and he had it lasered off.

COLE

That was years ago.

ALEX

(ignoring COLE)

It was his EX-girlfriend's name.

What was it? ALICIA?

No. It was 'ISABELA'!

COLE

ALEXANDRIA, you're embarrassing me.

(he was smiling)

ALEX

Oh Am I?

I'm NOT done yet, my brother back in the day,

has this habit of falling for women who are

obnoxious, annoying and stupid.

COLE

Like you said 'back in the day'.

OLIVIA seems to be having fun.

ALEX

You know I didn't like any of your girlfriends.

NOT one!

Anyway, GRAY, I think you've improved.

COLE

(looks back at ALEX)

Improved?

ALEX

You know, your preference.

(looks at OLIVIA)

COLE

You're CRAZY.

OLIVIA sees her from the rear view mirror. She pretends like she didn't see anything. ALEX laughs at COLE. They arrive at the hotel.

COLE

(cont)

Oh look we're here! THANK GOD!

I'm being tortured.

(he steps out of the car)

COLE opens the door for ALEX. She gets out, still laughing. They hug for a moment.

COLE

You take care of yourself.

ALEX

Thanks for the gift. And the TIME.

COLE

You're welcome.

ALEX turns to OLIVIA; still in the driver's seat.

ALEX

It was so nice to meet you OLIVIA.

Thank you for the ride.

OLIVIA

Same here.

Be safe.

ALEX

I will.

(turns to COLE)

Great choice, GRAY.

I like her.

(smiles)

COLE gives her a playful nudge. She walks toward the entrance of the hotel. Then waves goodbye. COLE hops back in the vehicle. They drive away.

INT. NEW YORK UNIVERSITY MEDICAL CENTER - ROOM - NIGHT

A nurse starts to do her routine rounds; she checks up on the next patient. KATE BENFORD's room. The nurse notices the water on the floor; she approaches the bed, splashes of water as she walks.

FRAME on KATE BENFORD. Her eyes are wide open; she's DEAD.

FRAME on the nurse. She checks for a pulse; nothing. She touches the bed, soaking wet; water drips from it. She rushes out of the room to get help.

INT. HARVARD UNIVERSITY - WALTER'S LAB - NIGHT

ASTRID is re-watching the surveillance records on the computer; she's taking notes. OLIVIA enters the lab followed by COLE. They make their way to ASTRID.

OLIVIA

Hey.

ASTRID

(to OLIVIA)

Hey.

Agent COLE.

COLE

Agent FARNSWORTH.

Call me GRAYER.

ASTRID

Okay, GRAYER.

OLIVIA

(looking around)

Where's WALTER and PETER?

ASTRID

I called them already.

They're not back yet.

OLIVIA

Where ARE they?

ASTRID

Somewhere around campus.

They're looking for WALTER's lost LUNCH BOX.

OLIVIA

LUNCH BOX?

ASTRID was about to answer when PETER and WALTER came in the lab.

ASTRID

Oh they're here.

FRAME on WALTER. He's looking stern when he entered; for a second you can mistake him for WALTERNATE.

FRAME on PETER. Following WALTER; he seems really stressed out. His clothes plastered with dirt; sets the shovel down in a corner.

We can see that neither of them is carrying the LUNCH BOX.

FRAME on OLIVIA; looks concerned about WALTER.

FRAME on COLE, walks over to ASTRID.

COLE

(to ASTRID)

What did you find?

FRAME on ASTRID and COLE.

ASTRID

Umm- I've watched the entire surveillance tapes.

Starting from the day of the attack.

(she types on the computer)

A video playback pulls up on the screen; a man and a woman enter the elevator.

ASTRID

There's KATE BENFORD and, according to her,

a man named EDWARD HARVEY.

They were in the hotel elevator at 6:50 pm.

COLE

So it matches her police statement.

ASTRID

Yes.

BUT this is what caught my attention.

OLIVIA moves closer to them; looks at the screen. PETER joins them while WALTER sat at the far end of the lab; thinking. ASTRID shows them another video; it's an angle showing KATE BENFORD and EDWARD HARVEY entering a room.

ASTRID

They entered the room. Room 305.

Everyone's watching the video closely. ASTRID fast forwards the video.

ASTRID

No one entered or left the room after that.

But look at this.

The video plays; a man rushes out of Room 305. It wasn't EDWARD HARVEY. They all look confused.

OLIVIA

Who is that?

ASTRID

His name's Dr. LOUIS STEVENSON.

He's in the guest list, and the room is registered to him.

PETER

An accomplice, maybe?

ASTRID shakes her head. Immediately pulls up another video on screen.

ASTRID

I'm NOT sure.

Here he is at 9:20 am, he left the room.

And the receptionist confirmed

that Dr. STEVENSON left the hotel

at around that time but he never came back.

OLIVIA

So if this Dr. STEVENSON left the hotel and never came back-

ASTRID

HARVEY and BENFORD comes in and uses his room-

PETER

How the hell did he end up in the room with BENFORD?

Everyone was quietly thinking for a moment. Suddenly-

COLE

Play the video from when BENFORD was found.

ASTRID types in the keyboard; video plays. The video starts with Dr. STEVENSON rushing out of the room; leaves the door open. At 8:10 pm, BENFORD exits the room, still in her underwear, her body trembling. She walks a couple of steps and collapses in front of another room.

ASTRID

At around 8:15, a guest arrives and finds BENFORD.

OLIVIA

(pointing at the screen)

They call for help. There, security arrives then searches the room.

FRAME on the SCREEN. We see one of the guards entering the room, the other search the hallways. Then they come back to help BENFORD.

FRAME back on THEM. OLIVIA straightens up, thinking.

ASTRID

I've seen every video. They didn't find anyone in that room.

Except for Dr. STEVENSON's things.

NOT a trace of EDWARD HARVEY.

OLIVIA

We need to find one of them.

PETER

Them?

OLIVIA

(ignoring PETER)

ASTRID did you find anything about EDWARD HARVEY?

ASTRID

Nothing. He's not on any records or database.

OLIVIA

Probably NOT his real name.

COLE

I have to admit that I'm not the kind of guy who

BELIEVES in this kind of stuff.

BUT I think KATE BENFORD was telling the truth.

PETER

That it's the same guy.

HARVEY and Dr. STEVENSON.

Someone suddenly speaks from the far end of the lab.

WALTER (O.S)

JEKYLL AND HYDE!

Everyone turned to look at WALTER, seated like a sculpture.

FRAME on WALTER.

WALTER

BASED on Ms. HEMWORTH's recollection of the attack-

PETER (O.S)

It's BENFORD!

WALTER

(ignoring PETER)

She said that the man TRANSFORMED in front of her.

And that he was TALKING to himself!

My theory is that this man is suffering from

Multiple personality disorder.

A neurosis in which the personality

becomes dissociated into two

or more distinct parts,

each of which becomes dominant

and controls behaviour from time to time

to the exclusion of the other parts.

In this particular case, it's TWO personalities.

FRAME on OLIVIA.

OLIVIA

Schizophrenia?

FRAME on PETER. He's shake his head, in disagreement.

PETER

No. He means Split Personality.

Technically, it's different from Schizophrenia.

But WALTER, if that's the case,

that he has TWO personalities.

Physical transformation isn't one of its symptoms.

FRAME on OLIVIA.

OLIVIA

He's a doctor. Maybe he's treating himself and

that's what causes the transformation.

FRAME on WALTER. He stands then moves closer to them.

WALTER

She's right.

I'm guessing that he has formulated some sort of medication.

Probably a combination of

high doses of Clozapine and Risperidone.

FRAME on PETER. His arms folded.

PETER

You're telling us that he has what, gained the ability to

TRANSFORM because of an overdose of antipsychotics?

CLOSE-UP on WALTER.

WALTER

Somehow. Yes.

PAN OUT. We see them attentively listening to WALTER; suddenly became excited.

WALTER

A REAL LIFE version

of Dr. JEKYLL and Mr. HYDE!

COLE

(suddenly comes to a realization)

OLIVIA's right, EDWARD HARVEY is not his real name.

That's why he's NOT in any database.

I think Dr. BISHOP's right about him having TWO personalities.

ASTRID

What do you mean?

COLE

Dr. STEVENSON is the REAL person,

this EDWARD is his alter-ego.

(smiles)

He gave himself a name, EDWARD.

Which is Mr. HYDE's first name.

WALTER

EDWARD HYDE.

OLIVIA

What about the HARVEY?

PETER

I'm guessing he's a comic book fan.

OLIVIA

A comic book?

COLE

BATMAN's other famous enemy.

HARVEY 'Two-Faced' DENT.

ASTRID

The guy with the burned face?

PETER

Yeah, well, half of it.

HARVEY is probably a representation.

OLIVIA

(to ASTRID, smiling)

How did you know that?

ASTRID

I've seen the movie.

OLIVIA

Anyway, we need to find WYATT TOOMY.

ASTRID

Who's WYATT TOOMY?

OLIVIA seem confused.

OLIVIA

The man who transforms into-

She stops, realizing that what she's saying is from a case she worked on the other universe. Both COLE and PETER look at her with concern.

OLIVIA

I mean- uh, we need to find Dr. STEVENSON.

ASTRID

Well, he works at NYU Medical Center.

(reading a file)

OLIVIA

Did you say NYU?

COLE

(to OLIVIA)

Are you alright?

OLIVIA

Yeah, I'm fine. Why?

A cell phone rings. It's COLE's. He answers it.

COLE

GRAYER COLE.

(listens)

What?

(he looks at OLIVIA)

Okay, thanks.

OLIVIA

What is it?

COLE

KATE BENFORD is DEAD.

INT. LINCOLN NAVIGATOR - ON THE ROAD - MIDNIGHT

The NAVIGATOR zooms past the road. We see COLE on the driver's seat; OLIVIA in the passenger's, PETER and WALTER are at the back.

OLIVIA

He must have seen her.

COLE

This happened before right?

OLIVIA

Yeah.

COLE

But he was never suspected of it.

The killer was never caught.

PETER

EDWARD HARVEY is careful.

COLE

Right. STEVENSON probably had NO idea what his

alter-ego had been doing.

OLIVIA

UNTIL now.

WALTER

Dr. STEVENSON became aware of it, then

tries to STOP him.

OLIVIA

He's fighting for control, with himself?

PETER

Seems like it.

INT. NEW YORK UNIVERSITY MEDICAL CENTER - NURSES' STATION - MIDNIGHT

WE see OLIVIA and COLE talking to a nurse. Federal agents sweeping the victim's room for evidence.

NURSE

I was doing my routine rounds, to check the patients.

I went to her room and I saw there's water on the floor.

I saw her she was already dead.

She- she drowned.

OLIVIA

Did you notice anyone entering her room?

NURSE

No.

COLE

Anyone - anything suspicious?

NURSE

(thinks)

Not that I -

wait, I saw Dr. STEVENSON outside her room.

He looked sick and when I asked him what's wrong,

he left without saying a word.

OLIVIA looks at COLE. They confirmed their suspicions.

OLIVIA

(to COLE)

It was him.

NURSE

You think Dr. STEVENSON did this?

OLIVIA

We need to see the surveillance records on this floor.

Agent BROYLES approaches them.

BROYLES

Is PETER BISHOP here?

OLIVIA

He's with WALTER, down at the morgue.

They're checking BENFORD's body.

Is there something wrong sir?

BROYLES

He called me he said he wanted to talk.

OLIVIA

About what?

BROYLES

I don't know.

(changing the topic)

We got the address of Dr. STEVENSON.

Maybe you and Agent COLE should check it out.

COLE

Should we take the BISHOPS?

BROYLES

I don't think there's a need to.

Agent COLE nods then heads to the elevator. OLIVIA stares at Agent BROYLES then follows COLE.

INT. NEW YORK - A HIGH-END APARTMENT - LOBBY - MORNING

A man is reading a newspaper; in front of him surveillance monitors. OLIVIA walks toward him, closely followed by COLE. She takes out her I.D.

OLIVIA

(to the security guard)

Hey.

I'm Agent DUNHAM and this is Agent COLE.

We're with the FBI.

SECURITY GUARD

(puts the newspaper down)

What can I do for you?

COLE

Have you seen this man?

(shows him a photo of STEVENSON)

SECURITY GUARD

That's Dr. STEVENSON.

But I haven't seen him for quite some time.

OLIVIA

How long ago?

SECURITY GUARD

Ah- two, three weeks I guess.

Is he in some kind of trouble?

COLE

We're not at liberty to say.

OLIVIA

D'you mind if we take a look around?

SECURITY GUARD

Go ahead.

INT. NEW YORK - A HIGH-END APARTMENT - HALLWAY - MORNING

We see OLIVIA and COLE walking towards a door with a number 9 on it. OLIVIA reaches it first; knocks.

OLIVIA

Dr. STEVENSON?

FBI we need to talk to you.

Nothing. OLIVIA knocks again.

OLIVIA

Dr. STEVENSON?

They hear a LOUD crash; it continues. OLIVIA reaches for her gun. COLE does the same. OLIVIA gets out of the way; COLE kicks the door open. They enter cautiously; they can hear a person screaming.

OLIVIA

Dr. STEVENSON?

MAN (O.S)

Arrghh!

(struggling, another LOUD crash)

You CAN'T stop me!

OLIVIA signals COLE to go the other way; COLE nods then moves quietly to the other room. OLIVIA, gun in hand, moves forward. OLIVIA reaches the living room, she can see furnitures toppled, broken glasses on the floor; she can now clearly hear where the commotion is coming from.

MAN (O.S)

I'm GOING to END all of this!

OLIVIA slowly steps in; she sees a MAN, bloody face, holding his own shirt. He's pushing himself against a wall. OLIVIA, her face in shock. The MAN's face changes from STEVENSON to HARVEY.

OLIVIA

Dr. STEVENSON?

MAN

HE'S NOT HERE!

(he struggles against himself)

OLIVIA

EDWARD HARVEY?

The MAN, STEVENSON/HARVEY, pulls himself then launches himself across the floor. OLIVIA, gun still trained on them, can't believe her own eyes. She's seeing a man struggling like there's TWO of them. The MAN hits his head hard on the corner of a table. He loses consciousness. COLE appears on the other side of the room; he sees the unconscious MAN on the floor. Looks over to OLIVIA.

COLE

You okay?

OLIVIA

Yeah.

COLE

What happened?

But before OLIVIA can answer him, the MAN stirs then stands up. His face, Dr. STEVENSON's.

OLIVIA

Dr. STEVENSON?

MAN

Please! SHOOT me!

OLIVIA

(ignores him)

Get DOWN on your knees!

MAN

Please! I can't control HIM!

(he gets down on his knees)

Please shoot me! PLEASE!

OLIVIA

Hands behind your head.

COLE slowly moves toward STEVENSON. STEVENSON puts his hands on his head.

COLE

(to OLIVIA)

You got him?

OLIVIA

Yeah.

(gun trained on STEVENSON)

COLE approaches STEVENSON from behind. He holsters his gun, takes the cuff. COLE reaches for STEVENSON's hand.

CLOSE-UP on STEVENSON. His eyes changes from BLUE to GREEN.

A SIMULTANEOUS shot.

We see COLE about to put the cuffs on STEVENSON, who suddenly changes to HARVEY; quickly stands then tackles COLE hard, both men crashes through a wall. They end up in the other room. COLE lands hard on the floor; HARVEY, who now looks like the HULK's smaller brother. 6 feet tall of muscle, ripped not bulging, with veins popping out of his skin.

FRAME on COLE and HARVEY; his hands around COLE, gasps for air. COLE tries to reach for his gun, it's not there. Probably fell out during the struggle.

FRAME on OLIVIA. Horrified.

OLIVIA

COLE!

She fires a couple of shots at HARVEY; hits him on his back.

FRAME on HARVEY; looks back at OLIVIA. He rushes towards her.

FRAME on OLIVIA. Firing a couple more. HARVEY gets to her then slaps the gun out of her hands.

FRAME on COLE. He tries to stand up, winces in pain; broken rib. Searches for his gun, he can't find it.

FRAME back on OLIVIA. HARVEY goes for her throat; but before he can reach her, he transforms back to STEVENSON. He stops on his track.

STEVENSON

(to OLIVIA)

RUN!

COLE, now towering over STEVENSON, grabs him from the back. OLIVIA instinctively looks for her gun.

FRAME on STEVENSON. He does NOT try to break free. COLE pulls him back away from OLIVIA.

COLE

OLIVIA!

Shoot him!

DURING THIS - OLIVIA still looking for the gun, panicking a little. STEVENSON transforms back to HARVEY; an inch taller and much bigger in frame. COLE, with a broken rib, struggles to hold on.

COLE

OLIVIA!

HARVEY throws COLE off his shoulder; he crashes on top of a table. OLIVIA finds her gun, with a shaking hand, takes it.

FRAME on HARVEY. Turns around to face OLIVIA; who was now aiming her at him. He flashes a big SMILE.

FRAME on OLIVIA. With determined eyes, she FIRES; empties the clip.

FRAME on SIDE VIEW. OLIVIA on the right corner, holding her gun; HARVEY on the other side, still standing.

FRAME on HARVEY. We see TWO bullet holes on his forehead, blood oozing from it. He drops out of the FRAME; a LOUD thud.

FRAME on OLIVIA. Breathing heavily, she lowers her gun. Runs to the unconscious COLE.

FRAME on BOTH. OLIVIA tries to wake him up. She gently taps him on the face.

OLIVIA

COLE?

Wake up, please.

She notices the blood on her hands, he's bleeding on the back of his head.

OLIVIA

COLE!

PAN OUT. TOP VIEW. We see OLIVIA; knelt beside COLE, reaches inside her pocket, and takes out her cell phone. The DEAD STEVENSON/HARVEY lay a few feet from her.

FADE OUT.

INT. FEDERAL BUILDING - BROYLES' OFFICE - DAY

BROYLES stood behind his desk, looking down on a silver metal box; holding the lid open. WALTER was seated on a chair; he looks anxious. PETER, also standing, leans on a chair with both hands; looking at BROYLES.

BROYLES

Can YOU explain to me,

how you've come to acquire this ITEM?

WALTER

I don't know Agent BROYLES.

I can't remember.

PETER

The ONLY thing that he remembers is the LUNCH BOX

where we found that.

FRAME on the BOX. It looks similar to the piece of device that ALT-OLIVIA stole. A piece from WALTERNATE's doomsday device.

BROYLES closes the lid; sits on his chair.

FRAME on PETER.

PETER

Look, Agent BROYLES.

WALTER doesn't remember how he got it.

I'm just glad that we that piece instead of the OTHER side.

FRAME on BROYLES. He nods.

BROYLES

I'm glad too.

(to WALTER)

IF you remember anything else,

a piece of the device,

or any vital information that can help us-

FRAME on WALTER. Interrupting BROYLES.

WALTER

I will tell you Agent BROYLES.

When I remember it.

BROYLES (O.S)

Okay.

INT. FEDERAL BUILDING - PARKING LEVEL - DAY

We see WALTER and OLIVIA walking to the BISHOP's car; looks like they're talking about something. PETER following them, he's staring at OLIVIA.

WALTER

(to OLIVIA)

Agent BROYLES, he thinks that I'm hiding something.

OLIVIA

Are you?

WALTER

No.

And if I am hiding something.

I don't remember what it is.

OLIVIA

(smiles)

It's fine.

He doesn't think that.

Don't worry.

WALTER

Okay.

WALTER gets in the passenger seat; OLIVIA closes the door for him. PETER was standing, waiting for OLIVIA in the other side. OLIVIA passes by PETER; on her way to her car.

PETER

OLIVIA.

Can I talk to you?

OLIVIA stops; hesitates.

OLIVIA

I'm actually in a hurry-

PETER

(ignoring her)

You've been avoiding me ever since-

(sighs)

I know I made mistake.

I just want to know if- if we can go back to just like

BEFORE.

OLIVIA

You mean like, BEFORE, where I can work with you to solve a case.

BEFORE, where I can talk to you about anything, I can have a drink with you.

Where, looking at you makes me happy.

(beat)

PETER, that was BEFORE-

-all of this. BEFORE her.

Now, I'm at this stage where, I can't look at you

without remembering all the things that you confessed to me.

PETER

OLIVIA-

OLIVIA raises her hand to stop PETER. She's holding back her tears.

OLIVIA

I'm trying to forget all of that.

So I can work with you again, just like BEFORE.

I've been through so much PETER.

Just let me HEAL.

(beat)

I'm NOT asking you to stay away, or leave.

I'm asking you to UNDERSTAND.

AFTER all that, who knows.

PETER

Okay.

(his eyes full of sadness)

OLIVIA catches a glimpse of WALTER seated inside the car; he gives her a weak smile. OLIVIA smiles back. SHE leaves and gets in her car; leaving PETER standing, in tears.

INT. BOSTON GENERAL HOSPITAL - ROOM - DAY

A man, in black denim jean, seated on the side of the bed, is trying to put on his shirt. He flinches in pain; bandages around his mid-section, and on his forehead. He has bruises all over. COLE attempts again; still stings. A woman in a white t-shirt, brown leather jacket and jeans; her hair in a ponytail, appears near the door. She flashes a smile on him. It's OLIVIA.

OLIVIA

Where do you think you're going?

COLE looks up. OLIVIA comes in.

COLE

I'M going home.

Where are YOU going?

OLIVIA sees the faint trace of the tattoo on his chest.

OLIVIA

I'm here to visit- YOU.

COLE smiles.

COLE

Can I get a little help?

OLIVIA takes the maroon shirt. COLE stands; she moves behind him to help him get dressed. She sees half of the BIG tattoo ALEX was talking about. It's a KOI fish; in a shape of 'J'.

OLIVIA

You broke three ribs and you got more spots than GENE.

You need to rest.

Did your doctor give you permission to go home?

COLE faces her. He's buttoning up his shirt.

COLE

Nope.

OLIVIA

I think that means you're NOT supposed to go home yet.

COLE, now all dressed up. Smiles at her.

COLE

Too late. You're already here.

(takes his duffel bag)

OLIVIA doesn't move.

OLIVIA

I'm just here to visit.

COLE

Come on. I don't like hospitals.

(he pulls her hand)

OLIVIA

You scared of needles?

(looks around)

Well, there are NO SPIDERS in here.

(she smiles)

COLE

ELLA.

OLIVIA walks toward him. A grin on her face.

COLE

You think that's funny?

(he's smiling too)

OLIVIA

Oh, yeah.

PAN OUT. We see OLIVIA and COLE walking towards the elevator; talking (inaudible).

FADE OUT.

END.


	3. Chapter 3 Untitled

FRINGE FF 03 "

INT. FEDERAL BUILDING – OLIVIA DUNHAM'S OFFICE –NIGHT

OLIVIA, with reading glasses on, writes something on a form; then looks at the computer monitor. She looks different; her hair still pulled back but it's a shade darker from her usual light blonde, light mascara & eyeliner on her eyes and a hint of blush on her cheeks. Plus, a touch of lip gloss on her lips. Simple and very OLIVIA but distinctively different.

FRAME on a MAN standing outside her office door; sticking his head in looking at OLIVIA. It's GRAYER COLE.

COLE

I hope that's NOT my evaluation.

FRAME on OLIVIA; she looks up and sees COLE.

OLIVIA

(smiles)

You afraid I'm gonna give you a bad one?

FRAME on COLE; cracks a grin, still at the door.

COLE

Well, yeah.

(they share a smile)

First case under my belt and I got hurt.

FRAME on OLIVIA.

OLIVIA

It's not your fault.

Well, you couldn't have known he

was that strong.

FRAME on COLE.

OLIVIA (O.S)

How are you feeling?

COLE

Better. Thank you for asking.

FRAME on BOTH.

OLIVIA

I'm glad you're okay.

(sincerely)

COLE

(he nods)

(beat)

Listen, you got a minute?

FRAME on OLIVIA; puts the pen down.

OLIVIA

Sure. Come in.

(takes her glasses off)

COLE comes in; walks to a chair.

FRAME on BOTH. OLIVIA closes some files that were scattered on her desk. COLE sits.

OLIVIA looks at COLE, waiting for him to say something. He was looking back at her, trying to compose the words in his mind. OLIVIA senses his hesitation.

OLIVIA

Is this- is this about last

night when you -

(hesitates)

COLE

(interrupting)

-When I kissed you?

(he smiles)

Actually, no. BUT if you want to

talk about that -

let's do that first.

OLIVIA

Umm- no, I just- thought that-

COLE

-Well, since you brought that up

I'll explain myself.

(mischievously grinning)

OLIVIA

I know you had a couple of drinks

before you came to my apartment

so you don't have to explain. It happens-

(turning red)

Anyway, let's talk about that some other time.

COLE

Yeah, had a couple of drinks. Sure.

OLIVIA

So- what did you wanted to talk about?

(changing the topic)

COLE

(takes a deep breath)

Okay.

Remember the first time you went to my apartment-

the night you yelled at me?

OLIVIA

(smiles, a little embarrassed)

Yeah. What about it?

COLE

You mentioned a name, LINCOLN.

Who's he?

FAME on OLIVIA; seems unsure of what to say.

OLIVIA

He's- someone I used to work with.

FRAME on COLE; surprised, he tries to hide it.

OLIVIA (O.S)

(cont)

Why?

COLE

Nothing. I was just curious.

FRAME on BOTH. COLE appears to be thinking about something.

OLIVIA

Just curious?

COLE

Yeah.

I figured he was someone special.

(forces a smile)

OLIVIA smiles.

OLIVIA

He IS. But not that kind of 'special'.

COLE staring at OLIVIA. He says nothing, a little 'guilt' on his face.

OLIVIA

(noticing)

That's it? Anything else?

COLE

Nope. That's it.

OLIVIA nods; unconvinced. COLE stands.

FRAME on COLE; he's on his way out, stops at the door then turns to face OLIVIA.

COLE

I'm NOT sorry, you know.

FRAME on OLIVIA. Confused.

OLIVIA

Sorry about what?

FRAME on BOTH. SIDE VIEW. COLE on the left side, near the door; OLIVIA still seated.

COLE

I'm NOT sorry that I kissed you.

OLIVIA

GRAYER I uh-

COLE

(interrupting)

-But I can see that you ARE.

FRAME on OLIVIA. She seems uneasy.

OLIVIA

It's not that-

FRAME on COLE. He gives OLIVIA a weak smile.

COLE

(interrupting)

-You're still healing.

I understand. It was- too early to make a move.

FRAME on OLIVIA. She doesn't say anything.

FRAME back on COLE. After a brief pause.

COLE

(flashes a smile)

Now I'M worried about my evaluation.

FRAME on BOTH. OLIVIA give him a weak smile.

COLE

(cont)

I'd better go.

OLIVIA

Okay.

COLE turns and leaves. OLIVIA stares sadly at the door.

INT. FEDERAL BUILDING - BROYLES' OFFICE - DAY

We see WALTER noisily sipping his slushy at the corner; PETER and ASTRID, seated in front of BROYLES' desk, talking. PETER looks annoyed.

WALTER emptying the cup he's holding; the noise stops.

PETER

Finally!

(looking at WALTER)

I was starting to get a migraine.

ASTRID

(to PETER)

Who drinks slushy at seven in the morning?

PETER

He says it's invigorating.

And seven's actually NOT that early for WALTER.

WALTER places the cup on top of the table.

WALTER

(to ASTRID)

It jumpstarts my brain!

It is MY second favourite-

(he stops, counts in his hand)

-No! Third favourite beverage!

PETER

(interrupting, to ASTRID)

-Did Agent BROYLES mentioned why we're here?

ASTRID

No.

But he said it's important.

FRAME on the door. BROYLES enters, holding several folders, followed by OLIVIA, her right hand in a brace; then Agent COLE. Apparently, no one notices that she's wearing light make-up again because of the injured hand.

FRAME on WALTER, who stands up, then walks over to OLIVIA. PETER and ASTRID, also stands up; concerned look on their faces.

WALTER

Agent DUNHAM, what happened to your hand?

FRAME on OLIVIA. She smiles.

OLIVIA

I fell down.

But I'm fine, WALTER.

FRAME on WALTER.

WALTER

Down where?

FRAME on BOTH. WALTER seems truly worried.

OLIVIA

The stairs. Last night.

(smiles)

It's nothing serious. It's just a-

WALTER

(interrupting)

-Nothing serious? You broke your hand!

PETER (O.S)

WALTER relax.

OLIVIA

(smile fading)

WALTER it's not broken-

FRAME on BROYLES. Sombre as usual; interrupts WALTER and OLIVIA. He was standing behind his desk; both hands leaning on top of it.

BROYLES

Excuse me.

BUT there's work to do here.

FRAME on EVERYONE. They suddenly lost interest to talk. WALTER walked back to his seat; PETER followed him and stood beside him. OLIVIA sat at the vacant chair; ASTRID on her chair. COLE stood near the door with his arms folded.

CLOSE UP on BROYLES. Straightens up.

BROYLES

(to OLIVIA)

Agent DUNHAM. You're going to have to sit this one out.

OLIVIA (O.S)

But sir-

BROYLES

(ignoring OLIVIA, to COLE)

Agent COLE, you'll be the Agent-in-charge for this case.

FRAME on COLE. Surprised but chooses to say nothing. He nods.

FRAME on OLIVIA. Starts to protest.

OLIVIA

If this is about my injury, I'm perfectly capable of-

FRAME on BROYLES. Patiently continues to explain.

BROYLES

(interrupting OLIVIA)  
-On the other hand, Agent DUNHAM,

will handle the situation involving a stolen piece

of WALTERNATE's device.

FRAME on OLIVIA. She stops, listening intently.

PETER (O.S)

Wait-

FRAME on PETER.

PETER

-a stolen PIECE of the DEVICE?

CAMERA circles around each character as they talk.

BROYLES

Yes.

According to the coordinates that

Agent FARNSWORTH discovered,

there's one at 35°39′32.6″N 139°42′2.1″E / / 35.659056; 139.700583

ASTRID

I remember that one. It's in Japan.

BROYLES

SHIBUYA Station. TOKYO.

OLIVIA

A train station?

PETER

It's a piece of the DEVICE, you NEED me there.

OLIVIA

Any idea who took it?

BROYLES

(to PETER and OLIVIA)

NO and no.

Agent DUNHAM you will take Agent FARNSWORTH.

You will leave at 1000 hours.

(looks at PETER)

You and your father will assist Agent COLE

with the case in NEW JERSEY.

PETER

But-

BROYLES

-I know this is important to you, but WE

need Dr. BISHOP here, for this case.

FRAME on PETER. He nods; defeated.

FRAME on BROYLES; he gives a folder to OLIVIA then one to Agent COLE.

BROYLES

(to OLIVIA and COLE)

All details are in your files.

Dismiss.

BROYLES sits on his chair.

PAN OUT. We see everyone leaving; WALTER and PETER then ASTRID. OLIVIA looks at COLE.

FRAME on OLIVIA. Stops to talk to COLE.

OLIVIA

Can we talk?

FRAME on BOTH.

COLE

Give me a minute.

I just want a word with Agent BROYLES.

OLIVIA

Okay, sure.

(she leaves)

FRAME on COLE. He approaches BROYLES' desk.

BROYLES (O.S)

What is it Agent COLE?

COLE

OLIVIA DUNHAM.

FRAME on BROYLES. Unruffled like he's expecting it.

BROYLES

Is there's something you want to report?

COLE (O.S)

No.

BROYLES

Then what about her?

FRAME changes from BROYLES to COLE as they speak. COLE, still on his feet, looking a little livid.

COLE

You forgot to mention a little DETAIL.

(beat)

About LINCOLN LEE.

She used to work with him.

That was NOT in her file.

BROYLES

It's in my discretion whether or not there's a NEED

for you to know THAT LITTLE DETAIL.

COLE

You knew that I wouldn't take this assignment-

BROYLES

(interrupting)

-Agent DUNHAM has NEVER worked with the Agent LINCOLN LEE

that you know of.

COLE

That I know of?

BROYLES

It's CLASSIFIED. That is ALL you need to know.

COLE

(temper rising)

If you want me to DO my job, I NEED

to know everything about-

BROYLES

(cutting in)

-Agent COLE.

COLE stops. He relaxes a little, remembering who he's talking to.

BROYLES

(cont)

Have a seat.

COLE takes a seat.

FRAME on BROYLES. Knowing Agent COLE, he won't stop unless he gets some answers. He opens up a locked drawer and takes out a file; sets it on the table.

BROYLES

(takes a deep breath)

Alright.

I guess you deserve to know the truth.

(beat)

But what I'm going to tell is-

COLE (O.S)

-Classified.

FRAME on COLE. Looking calmly at BROYLES.

COLE

You don't have to tell me twice.

PAN OUT. BROYLES hands COLE the file; he takes it then browses some pages.

BROYLES

In there, you'll find Agent DUNHAM's OFFICIAL debrief.

Everything you want to know

about her relationship with Agent LEE.

COLE's expression turns from intrigue to confusion.

BROYLES

(seeing COLE's expression)

But I DOUBT that you'll find it- believable.

COLE looks up at BROYLES. Questioning.

COLE

The first file that you gave me,

it says Agent DUNHAM was captured during a mission.

That she has undergone isolation and

experimentations.

And you wanted me to

EVALUATE her performance on field

after the trauma that she went through.

BROYLES

True.

COLE

But- but that happened in the other 'Universe'?

BROYLES

One of the details that was omitted.

(beat)

Agent DUNHAM worked with a certain Agent

LINCOLN LEE, from a parallel universe.

And NOT from OURS.

COLE looks down at the file again; clearly puzzled.

BROYLES

I don't expect you to BELIEVE it right this very moment.

BUT I can guarantee you that every detail in that debrief is TRUE.

(beat)

I know you have questions, BUT I'm asking you,

Let Agent DUNHAM tell you her story

when she's ready.

The LINCOLN LEE that you knew, the one that

saved your life, is entirely different from the one that she met

on the OTHER side.

CLOSE UP on COLE. Looks up at BROYLES; speechless.

FADE OUT.

FRINGE OPENING THEME.

INT. FEDERAL BUILDING - PARKING LEVEL - DAY

COLE hurries to his parked SUV; a woman's running after him. He doesn't notice her.

WOMAN

Hey!

COLE looks behind him. It's OLIVIA. She catches up to him.

OLIVIA

Where were you?

I-I didn't see you leave.

COLE

(remembering)

Oh, yeah I forgot you wanted to talk.

OLIVIA notices that something's bothering him.

OLIVIA

Are you okay?

COLE

Yeah.

(lying)

What did you want to talk about?

OLIVIA

Well..

(she takes something from her pocket)

ELLA asked me to give you this.

OLIVIA, with her good hand, gives COLE a small keychain. COLE takes it, he smiles.

OLIVIA

(cont)

She still thinks it's funny that you're scared of it.

(laughs)

We see that it's a cute little spider keychain. COLE looks at it; smiles.

COLE

I blame ALEX for ratting me out, it was a well-kept secret.

But tell ELLA thank you.

OLIVIA

Uh- well you can thank her yourself.

If you're going to say yes.

(COLE looks at her questioningly)

That's what I was gonna talk to you about.

It's RACHEL's birthday on the fourteenth.

And ELLA wanted to take her to Adventureland.

She wants you to come with us.

And your sister if she can.

COLE's smile fades.

COLE

Umm- I'm not sure about ALEX, and I-

(hesitates)

OLIVIA

What?

COLE

I have a-uh, I have something 'important' to do on that day.

OLIVIA

Oh.

Okay, I'll tell ELLA.

COLE

I'm sorry.

OLIVIA

(shakes her head)

It's fine.

COLE

(looks at his watch)

I gotta go.

Case in New Jersey.

OLIVIA

Me too.

I have to pack.

COLE

Have a safe trip. Tell ASTRID for me.

OLIVIA

I will.

See you when we get back.

COLE

Yeah, see you.

COLE seems melancholic as he watches OLIVIA walk to her car.

INT. CAR - ON THE ROAD - DAY

WALTER and PETER are having a 'minor' argument. ASTRID is driving.

FRAME on WALTER; seated in the backseat, wearing a weird contraption on his head. Its shape resembled a football helmet made of aluminium; some wires wrapped around leading to a miniature metal PYRAMID on top of it. His eyes are hidden behind a, what looks like, 3D glasses.

FRAME on ASTRID. Smiling; she looks at PETER, who was seated at the passenger side.

PETER (O.S)

WALTER, your predictions doesn't even make any sense.

ASTRID

(to PETER)

What is that?

FRAME on PETER. He gives ASTRID a 'you-know-WALTER-is-sometimes-crazy' look.

PETER

He invented that last night and tried to test it on me.

While I was sleeping.

WALTER (O.S)

And IT worked!

PETER

(to ASTRID)

He told me that it was a 'mind reading' helmet-

FRAME on WALTER. Still wearing the 'helmet'.

WALTER

(cutting in)

-No! I explained to you  
it's an 'Instinctual Telepathic Decoder'!

FRAME on SIDE VIEW. PETER on foreground, ASTRID on background.

PETER

It's a device to read my MIND.

Same thing.

ASTRID

(jokingly)

And what did he PREDICT?

WALTER (O.S)

A black STAR will fall from the sky!

PETER

(to ASTRID)

See? It's NOT even something from MY mind.

ASTRID

How'd you know?

You were asleep, right?

Maybe he did saw something.

(teasing)

PETER

(laughs)

If you can believe a grown man

wearing a helmet full of wires with a

tiny pyramid on top of it?

Then yeah maybe he did saw something.

WE can hear WALTER mumbling something from the back.

FRAME on ASTRID. Laughing along with PETER.

ASTRID

Anyway, guys I'll just drop you off at your place.

I need to go home and prepare my things.

FRAME on PETER. Flashes a grin.

PETER

Have fun in Tokyo.

FRAME back on ASTRID. Her smile fades.

ASTRID

I don't think it's going to be 'fun'

running around Tokyo

searching for the 'Doomsday' device thief.

CLOSE-UP on WALTER. Seems like he's having a 'vision'.

WALTER

(joking)

Oh, I see something.

'Steamed dumplings'!

FRAME on PETER. He thinks it's funny.

PETER

(to ASTRID)

That's what HE wants you to bring back for him from

your trip.

FRAME on ASTRID. Looks at PETER

ASTRID

Let me guess. So do you.

FRAME on PETER. A wide smile on his face.

PETER

It's called 'Gyoza'.

Buy the frozen ones, we'll just cook it here.

FRAME on BOTH. PETER still smiling; ASTRID shaking her head.

ASTRID

You two are UNBELIEVABLE.

INT. SOMERVILLE, MA. – OLIVIA'S APARMENT – DAY

We see OLIVIA quietly closing her suitcase near the foot of her bed. She looks at ELLA, asleep. RACHEL enters.

RACHEL

(in a soft voice)

You leaving without saying goodbye?

OLIVIA

I don't want to wake her up.

RACHEL moves closer to OLIVIA.

RACHEL

LIV, is everything okay?

OLIVIA

Yeah, why?

RACHEL

I- I didn't want to say something about this but,

the day you gave ELLA your necklace-

(hesitates)

You had me worried, you were gone and I didn't hear from you for weeks.

(tears up)

OLIVIA

RACH- I'm sorry.

I-I was just busy with work.

(lying)

RACHEL

And the necklace? Mom gave it to you before she died.

OLIVIA

I wanted her to have it.

RACHEL

(unconvinced)

I tried to call you, you weren't returning my calls.

What's going on with you LIV?

OLIVIA unsure of what to tell RACHEL. She remembers her time on the 'Other Side'. She was about to say something to RACHEL when..

ELLA (O.S)

Are you guys fighting?

FRAME on ELLA, looking at OLIVIA an RACHEL.

FRAME on RACHEL. She wipes her eyes, composing herself; sits beside ELLA.

RACHEL

No honey, we're just talking.

FRAME on Three, OLIVIA still standing, her hands on her suitcase; ELLA and RACHEL on bed.

ELLA  
(to OLIVIA)

Where are you going aunt LIV?

OLIVIA  
Oh, not far. It's for work.

ELLA

(almost whispering)  
What about OUR 'plan'?

OLIVIA

I'll be here in time for that, I promise.

(smiles)

RACHEL

Plan? What plan?

OLIVIA

It's a secret.

RACHEL

No you can't do that.

ELLA

Mom, it's a secret.

OLIVIA

Yeah mom, don't pry.

(laughs, ELLA too)

RACHEL

Oh, you two are gonna be in big trouble

when I find out what you're up to.

OLIVIA, with a smile, walks toward RACHEL and ELLA; hugs them. ELLA still laughing.

FADE OUT.

FADE IN.

EXT. SETON HALL UNIVERSITY – NEW JERSEY – DAY

Police cars parked all over the campus grounds; there's also a fire truck and EMTs. We see a building, currently in construction, wrapped with yellow police tapes. Agent COLE walks towards the building, he sees Agent BROYLES exiting the building.

COLE

Sir.

BROYLES

Where's Dr. BISHOP?

COLE

They're right behind-

(looks behind him)

No sign of WALTER or PETER. He looks around for them; spots them from afar.

FRAME on WALTER and PETER, walking. They reach COLE and BROYLES.

COLE

Where'd you go?

PETER

WALTER had to use the restroom.

So why are we here?

COLE

We were just about to get to that.

BROYLES

Daniel Irvine, he's a junior here at SHU's School of Law.

FRAME on BROYLES, COLE, PETER and WALTER inside the building.

INT. BUILDING - SAME DAY

We see WALTER hurrying towards the victim. BROYLES, COLE and PETER looking, standing over a mound of dirt. The body, buried in a cement mixture, is on its side. The only parts of his body that can be seen are his left side of the face, his left arm and shoulder.

BROYLES (O.S)

(cont.)

One of the workers found him and called the police.

FRAME on WALTER looking closely at the body. He sees something on the victim's sleeves, a silver substance.

BROYLES (O.S)

We're here because it appears that he was killed

by a shape shifter.

FRAME on COLE. He looks back at BROYLES.

COLE

Any witness?

FRAME on BROYLES.

BROYLES

No.

FRAME on PETER; he drops to one knee and looks at the victim's left face.

PETER

Is he half Scottish?

PAN OUT. We see BROYLES looking at a file he's holding. COLE walking around; PETER and WALTER examining the body.

BROYLES

No. He was adopted.

Why?

PETER

His last name, Irvine. It's Scottish.

He seem more like Asian to me, Japanese maybe?

COLE (O.S)

Hey, I think I found something.

PETER walks to where COLE was.

FRAME on COLE. At the far corner of the building. He crouches down to take a closer look at a small puddle of silver liquid; then notices a wallet not far from it. He takes a pen from his jacket pocket and lifts the edge of the wallet; checks for an I.D.

FRAME on WALTER. He stands and looks at BROYLES.

WALTER

I need the body extracted then taken to my lab.

FRAME on PETER. He sees the puddle of silver liquid.

PETER

It was definitely a shape shifter.

FRAME on COLE. He was holding the wallet wrapped in a handkerchief.

COLE

No I.D.s

BROYLES (O.S)

Agent COLE. Check the victim's apartment.

FRAME on BROYLES.

BROYLES

I want to know why and what's his

connection to the shape shifter.

(to PETER)

You take your father to his lab.

FRAME on PETER. Looks like he wants to say something but changes his mind; nods instead.

EXT. SETON HALL UNIVERSITY - CAMPUS GROUND - DAY

Agent COLE is on his way to his parked car; PETER and WALTER right behind him. WALTER walks briskly to their car next to Agent COLE's. A woman in black suit approaches COLE.

WOMAN IN BLACK

Agent COLE?

COLE

(turns to look at her)

Yes.

WOMAN IN BLACK

My name is Kate James.

Agent BROYLES sent me.

KATE JAMES, 5'7", early 30's, brunette, wears glasses.

COLE

Oh yeah. You're the Agent-

(shakes her hand)

-Welcome aboard Agent James.


End file.
